contents - Illuminating Engineering Society

CONTENTS
OUTDOOR LIGHTING
From Coking Plant to Colorful Sculpture 32
Two design firms combined efforts for the lighting design of the Zollverein Coking Plant, in
Germany. According to Jonathan Speirs, the new building is a monumental industrial
sculpture, illuminated in different colors to indicate the juxtaposition of nature/power/process.
The project received a Paul Waturbury Award of Excellence for Outdoor Lighting Design.
Winging It 36
The Midwest Research Institute comprises two wings, each markedly different in
appearance. Mark Hershman fills us in on the thought process behind the design of
each wing, and the respective challenges the design team faced. In the process,
they earned an IIDA Paul Waterbury Award of Excellence.
Las Rozas Light Show 40
Ron Harwood, president of Illuminating Concepts, discusses his firm’s role in designing
the Hollywood Tower, a 90 ft tower that performs an operator-free synchronized sound
and light show in Heron City, an entertainment center in Las Rozas, Spain. This project
was awarded a Paul Waterbury Award for Outdoor Lighting Design Special Citation.
Millennium Masterpiece 44
The Millennium Dome was one of the icons celebrating the media-hyped “end of the millennium.”
Lighted by the firm of Speirs and Major Ltd., the project was awarded a Paul Waterbury
Award of Excellence for Outdoor Lighting Design. Mark Major details the firm’s work.
Revolutionizing the Rest Stop 48
Since the 1950s, service plazas have been familiar and valuable assets for travelers
along major U.S. highways. For years, these rest stops have maintained a
near-uniform appearance. Geraldine Kiefer describes the innovative design style
of the newly remodeled Ohio Turnpike travel centers.
LIGHT TRESPASS
Not in my Dark Yard 52
Light trespass has become an industry buzzword over the past few years. But, as
Edward Kramer explains, simply eliminating light trespass doesn’t solve the
whole problem. You also have to address light pollution.
Full Cutoff Lighting: The Benefits 54
Although the definitions for
cutoff lighting have remained
virtually unchanged for
nearly 30 years, a new
classification — full cutoff—
has been introduced.
Douglas Paulin details
the finer points of
this new terminology.
DEPARTMENTS
4 Digital Perspectives
8 Letters to the Editor
11 Specification Sales Strategies
12 Energy Concerns
14 Essay by Invitation
18 Working with the Web
20 Views on the Visual
Environment
22 Regional Voices
23 Photons
27 IES News
APRIL 2001
VOL. 31/NO. 4
58 Light Products
63 Howard Brandston
Student Lighting
Design From
44
ON THE COVER: A view from behind the glass wall that serves as a visually
appealing entranceway to the Midwest Research Institute. The two wings of the
building are designed in contrasting styles. One wing is treated in a gentle
rose purple wash, in response to the neoclassical museum located across
the street, while the second wing, facing a park-like setting, focuses on
landscape and foliage illumination. Photo: Michael Spillers
2 LD+A/April 2001 www.iesna.org

LETTERS
TO THE EDITOR
The article “Not Your Father’s Daylighting” in
January’s excellent edition of LD+A made awkward
reading for those of us who live in maritime climates
— Steven Ternoey’s advocacy of low-transmittance
view glass presumeably makes sense in his
native Southern California, but in foggy London town
the average luminance of horizontal sky during working
hours barely scrapes above 3000 cd/m 2 — call it
2000 cd/m 2 by the time it’s struggled through two or
even three panes of pollution-encrusted glass. With
up-to-date screens, luminances of this magnitude produce
barely-visible reflections, which are not likely to
distract or impede office workers.
I was surprised that he didn’t mention the thermal
consequences of glass with a low transmittance; incident
IR can be reflected, transmitted or absorbed, and
most glasses of this type absorb incident IR within their
own volume, thereby conducting roughly half of that
incidient heat into the building, rather than rejecting it
to the environment. With careful choice of low-emissivity
glass this can be avoided, but the summer heat-gain
consequences of specifying low-transmittance glass
are potentially very serious, especially in climates with
high solar gain and high ambient temperatures.
In my admittedly brief experience, the California climate
consists of alternating sea mist and blazing sun
— and low-transmittance glass doesn’t seem to be
appropriate in either of these scenarios. Recent
research in the UK and Europe has concentrated on
glasses with clever internal structures which redirect
some light onto the ceiling while preserving the view
out, and on automated horizontal blinds (external blinds
are common in continental Europe).
Unfortunately both these options add significantly to
the capital and maintenance costs of the building,
but to me it seems axiomatic that, to cope with the
wide variation in weather conditions, the building
envelope should be similarly variable.
Owen Howlett MA MSc
Lighting Researcher
Zumtobel Staff Lighting UK
The section on office lighting in the new IESNA 9th
Edition Lighting Handbook makes the point that
illuminance is a poor criterion by which to design a lighting
system and judge its effectiveness. While tidying my
study, I came across the following quotation from The
Illuminating Engineer (U.K. 1908). It makes the same
point as that made in the Handbook, nearly a century
later. The language used by the writer conjures up the
picture of an Edwardian gentleman with a high-starched
collar and three-piece suit, the bottom button of his
waistcoat being left undone after the fashion set by his
monarch, who was portly.
“It has been my experience in observing
the methods of work employed by persons
having to deal with lighting matters, to note
that there is often a decided tendency displayed
to consider the technical (mathematical)
side of the work as being the most,
and, in some cases, the all important. There
are persons who, in designing lighting systems,
are seemingly lost unless they can work
out elaborate calculations from photometric
curves, which show them theoretically what
the variation and intensity of illumination will
be in a given space.
But values thus obtained give but little
idea as to what will be the effect of light on
the eye, which is a point of considerable
importance. It does not follow that because
we theoretically obtain a given distribution
and intensity of illumination, that the same
will be satisfactory to the eye, either from a
physiological or aesthetic standpoint. Therefore,
something more than mathematical formulae
must be considered, although I appreciate
their usage in the work as a whole.”
Ernest Wotton
Toronto, Ontario
8 LD+A/April 2001 www.iesna.org

Where
do we find
lighting specifiers?
The most
obvious
lighting specifier
group
are independent
lighting
consultants.
In the architectural construction
world, the lighting specifiers —
the people who specify lighting
— are a very diverse group of people.
The lighting specifier can be a
lighting consultant/designer, an
engineer, an interior designer, an
architect, or a design-build contractor.
Less frequently, the lighting
specifier can be the construction
manager, and, of course,
sometimes the specifier can even
be the building owner. Lighting
consultants/designers also come
from a very diverse background,
including architecture, engineering,
architectural engineering, interior
design, theater and industrial
design, among others.
Where do we find lighting specifiers?
The most obvious lighting
specifier group are independent
lighting consultants. The majority of
the lighting consultants in the U.S.
reside on the east and the west
coasts, and they typically belong to
the professional organization of
International Association of Lighting
Designers (IALD), an international
lighting specifier group of
about 700+ members.
There are also many larger architecture/interior
design/engineering
(AIE or AEI) firms across the
country who have their own inhouse
lighting staff. These lighting
staffs are often part of the electrical
or interior design departments.
www.iesna.org
SPECIFICATION SALES
STRATEGIES
We can also find lighting specifiers
within the many engineering
consulting firms as well.
An architectural or interior design
firm without an in-house lighting
staff will often have their project
team appoint one of the team members
to do the lighting for the project
if there is no budget for hiring
an independent lighting consultant.
In a worst-case scenario, the lighting
design can often end up being
performed by either the project
electrical engineer, or sometimes
by the luminaire representative or
the manufacturer’s direct sales person.
This is a situation that is difficult
for all, since most sales representatives
would prefer to assist
with the specification efforts, but
do not wish to be the designers.
Another specifier group with a
major influence on lighting specification
and sales are the facility
managers of large corporations,
retailers and institutions. These inhouse
specifiers can be very powerful
because of their direct control
over buying decisions. In
recent years, many lighting manufacturers
have directed their attention
to this group. However, it is
very important to understand most
of these facility managers — if not
all — hire outside consultants for
major projects or for the entire
actual design specification work
because they don’t often have the
in-house staff. In fact, because of
corporate downsizing, they are
doing less of the design/specification
in-house today. Therefore, it is
important for sales people to call
on both the independent lighting
specifiers, as well as the in-house
facility specifiers.
All the lighting specifiers we have
discussed are very different people
with different likes, concerns and
needs. For example, the architect is
more concerned about the aesthetic
quality of the architectural space
and how the different spaces interact
with each other.
It is important to the architect
that the lighting product complement
the architectural design. An
engineer, on the other hand, is more
concerned about the quantity
aspects of the design, such as the
quantity of light the luminaires provide,
and the light distribution pattern.
An interior designer is typically
more concerned about how the
lighting product looks in the space
— especially the color and finish of
the product.
This does not mean that an architect
would not be concerned about
the quantity aspect of a design, or
that the engineer is not concerned
about the quality aspect of the
design. However, as different professionals,
they have different primary
concerns. As a specification
sales person, if you have a product
that you want to sell to all these different
people, you need to address
the different groups accordingly.
This includes the way you present
your sales pitch, relate to them and
the materials you provide for
accomplishing the specification
work. This is no easy task.
Li Huang
Principal,
FTC

Willard L.
Warren,
PE, LC,
FIESNA
Have you noticed that you use
the last quarter-tank of gas in
your car much faster than the
first quarter. That’s because the
gas gauge in your car is not a linear
device, nor is your gas tank shaped
ENERGY
CONCERNS
so that the volume of the tank is
proportional to its height.
Can you get a perfect piece of
toast by depending on the darkness
lever of a toaster?
Very few measuring devices are
linear. Perhaps the worst of all is the
human eye.
Do you remember the experiment
in high school physics where you
moved a light meter away from a
point source of light to demonstrate
that illumination varies as the
inverse square of the distance?
Well, the same test apparatus is
used in experimental psychology,
where observers are asked to move
a frosted glass panel away from the
point source until the brightness
drops to half its original value.
Everyone moves the panel twice
the distance away — where the
brightness has fallen to one-quarter,
not one-half.
Perception is influenced by psychology,
and there are very few
straight line relationships in our
sense of vision and brightness.
There is the classic case of “Big
Brother is Watching” that skewed
the Hawthorne Experiment many
years ago, where workers increased
production under lower levels of illumination
when they thought they
were being tested.
The result of the California energy
crisis may put us all to the test
pretty soon. By being the canary in
the mine, the California governor,
legislature, energy commission, the
public service commission and the
utilities have demonstrated the
fable of the blind men and the elephant.
Each party perceives the
task from a different perspective,
and the true picture is not what you
see, just like the gas gauge.
One of the other problems in
California was, while the utilities
were being compensated for their
stranded costs, when forced to sell
their outmoded generating plants,
they could not raise rates. But their
costs for power soared, sticking
them with debts that now threaten
to bankrupt them if not addressed
politically. But the citizenry in
California, with capped rates has no
incentive to conserve energy — so
they don’t.
By contrast, in New York, many
residents in co-ops and condos pay
for their electricity based upon the
size of their apartments, not their
usage of electricity. When co-op
boards decide to meter apartments
individually, electric bills decrease a
guaranteed minimum of 25 percent.
Businesses have a tougher time
Utility
executives
I’ve spoken to
realize that
lighting energy
conservation
is essential for any
comprehensive
energy policy
to succeed.
conserving lighting energy,
because some employees complain
that working under lower
lighting levels reduces their ability
to work efficiently. Many business
owners justify including eye care in
health insurance plans to ensure
the eyesight of their employees is
properly corrected, at no cost to
the workers. If only they would use
that same reasoning to improve
“seeing” conditions.
I vividly recall doing a lighting
retrofit in a state office building several
years ago, where we were able
to cut the load in half, yet increase
the illumination level by replacing
T12 lamps with half the number of
T8s, inserting new specular reflectors,
and louvers and electronic ballasts
in all the lighting luminaires.
One worker, coming back after a
vacation, complained that we had
cut the illumination level too much,
when in fact, we hadn’t gotten to
that office yet. Another worker
brought in a halogen torchiere, after
the lighting was improved, to
demonstrate that we had taken
something away (wattage) without
due compensation
Utility executives I’ve spoken to
realize that lighting energy conservation
is essential for any comprehensive
energy policy to succeed.
I like to make predictions so that I
have an incentive to hang around
long after my contemporaries have
retired and prove how smart I am.
(Of course if I’m wrong, you’ll
never hear it from me.) That’s why
I predict that DSM-type lighting
energy conservation plans are
coming back.
But technologically, we’re at the
point now where we can dim lighting
from a central command, on-site
or off, to repond to the need for
energy curtailment without anyone
noticing and without any reduction
in worker efficiency. Also, as the
cost of power increases — as it
inevitably will — it becomes easier
to justify the occupant controlled
dimming of lighting on an economic
basis.
We keep forgetting that perception
depends upon task contrast,
glare, eyesight, time, volumetric
brightness and the size of the task,
much more than it does on the illumination
level. I just wish that we
could do as good a job improving
printed tasks and work place
ambiance as the PC monitor manufacturers
have done in improving
their screens.
Remember, eyesight does not
have a linear relationship with illumination
level, just like your gas
gauge. Less (light) can be More
(revealing) with proper attention to
the other factors involved in seeing.
The objective of visibility is to get
more information from the field of
view, not to increase the lighting
level and expend more energy.
12 LD+A/April 2001 www.iesna.org

What do the the Kimbell Art
Museum, Lincoln Center
and the Seagram Building,
have in common? The answer is
that all of these masterpieces of
ESSAY
BY INVITATION
Fred
Oberkircher,
IALD, IESNA,
LC
20th century architecture owe their
lighting design to Richard Kelly.
Arguably, one of the founders of the
lighting design profession, Kelly’s
contributions have largely been hidden
in the shadows of his most
notable collaborators: Louis Kahn,
Philip Johnson, I.M. Pei, John
Portman and Eero Saarinen.
So integrated were Kelly’s
efforts; and so seamless the blend
of architecture and lighting that
we tend to think of these architects
as masters of light themselves,
and miss the significance
of Kelly’s contributions. Purveyors
of architectural history will find
numerous books concerning the
works of Kahn, Johnson, and
Saarinen; but, to date, not a single
book exists on the long and distinguished
history of Richard Kelly.
In an effort to provide the public
with an opportunity to enter
the realm of lighting design,
become acquainted with the legacy
of Richard Kelly, and to display
the breadth of his creative genius
in a museum quality setting; the
New York Section of the IESNA
funded the creation of an exhibit
in 1993.
Curated by Renee Cooley and
Matthew Tanteri, the exhibit was
developed after an exhaustive
review of Kelly’s voluminous
papers and archives. Thirty-six
works were eventually selected,
ranging from original pencil sketches
to daylight pattern simulations.
An article entitled “The Great
Illuminator,” written by Philip
Cialdella and Carla Powell that discussed
Kelly’s contributions, as
well as the exhibit appeared in the
May 1993 edition of LD+A.
The exhibit was initially shown in
the offices of Haines Lundberg
Waehler, New York, in 1993. Subsequently,
the exhibit was displayed
twice to coincide with LIGHTFAIR
INTERNATIONAL in New York.
The Key Elements
In the exhibit, a brief biography is
followed by Kelly’s philosophy highlighted
by his lighting trilogy: Focal
Glow, Ambient Luminescence, and
The Play of Brilliants. Possibly no
other aspect of Kelly’s work has
been more widely quoted and referenced
as the lighting trilogy. Initially
published in 1955, the trilogy has
remained fresh, providing inspiration
for succeeding generations of
aspiring lighting designers.
Most recently the trilogy has
been quoted by lighting designer
Gary Gordon and professor Marietta
Millet in their books: Interior
Lighting for Designers and Light
Revealing Architecture.
A series of drawings — pencil
sketches, color drawings and mechanical
drawings — all combine to
demonstrate both the science and
the artistry of Kelly’s early investigations
into portable lighting luminaire
design. One drawing illustrates
a full-size section of a floor
lamp, which is now in the permanent
collection of the Metropolitan
Museum of Art.
The series on the Wireless
Chandelier designed for the Barbizon
Plaza Hotel in New York,
1955, foreshadowed the entire
low-voltage cable lighting industry.
The 192 lamps in this 12 ft
diameter chandelier were powered
through the tensile tubes
themselves, with no wires in the
entire luminaire. The intricacy of
the structure also demonstrates
the genius of the long-term collaborative
efforts between Kelly
and the luminaire manufacturer
Edison Price.
Another series deals with
Kelly’s association with Philip
Johnson and Ludwig Mies van der
Rohe as they explored the use of
14 LD+A/April 2001 www.iesna.org

glass in architecture. The transient
nature of glass — at one
time transparent, at another
opaque — served to provide new
opportunities and challenges to
both architect and lighting designer.
Kelly’s solutions were to have a
profound impact on the success of
the ultimate designs of such well
know buildings as Jonhson’s Glass
House and van der Rohe’s
Seagram Building. It is unfortunate
that, in many cases, the integration
that made these designs
so appropriate has been ignored,
leaving both architecture and
lighting disadvantaged.
The exhibit concludes with a
series on the collaborative investigations
into the use of controlled
daylight in architecture between
Kelly and Louis Kahn. In two of the
last works by both designers, their
collective genius is expressed in the
Kimbell Art Museum and the Yale
Center for British Art. Here, sunlight
is used so successfully, that it
becomes a master piece on par
with the other works of art.
In this series, artistic studies of
forms and details share center
stage with the work of a fledging
tool — the computer. One panel displays
a computer printout by an
engineer, Issac Goodbar, who had
just created a program that calculated
the precise angles of the sun
— for two different ceiling forms.
The better of the two is now known
as the famous cycloid vault of the
Kimbell Art Museum.
The Exhibit Travels
Given the quality of the Richard
Kelly Exhibit and the potential of its
contribution to lighting education,
it seems inconceivable that the
exhibit could languish in a warehouse,
but such was the case.
Originally conceived as a traveling
exhibit, the display had remained in
its specially designed crates since
1997. In 1999, the TCU Center for
Lighting Education formed an
alliance with the IESNA and Tarrant
Lighting to bring the exhibit to Fort
Worth, Texas, home of the Kimbell
Art Museum.
Tarrant Lighting was able to
secure funds through their association
with Coooper Lighting and
General Electric to underwrite the
costs, and Texas Christian University
provided the venue for displaying
the exhibit. An educational
brochure that originally accompanied
the exhibit was reprinted and a
Given
the quality
of the
Richard Kelly
Exhibit
and the
potential of its
contribution to
lighting education,
it seems
inconceivable
that the exhibit
could languish
in a
warehouse,
but such was
the case.
poster was created to announce
the event to the community.
The 36 ft of display panels
required for the exhibit were rented
from a local company and fabric colors
were selected to honor both the
exhibit and TCU. Finally, a reception
was promoted to provide a single
event to bring together the lighting
community to celebrate the twoweek
exhibit.
The impact of the Richard Kelly
Exhibit cannot be overstated.
Design and lighting students spent
hours studying the various works,
often times bringing questions
back to faculty before returning to
the exhibit. The University community,
students, faculty and administrators
were able to view the exhibit
and were impacted by both its
quality and the eloquent manner in
which it conveyed the importance
of light. The Metroplex lighting
community came to educate themselves
and also brought clients
and customers as a way of speaking
about the role of lighting. And,
finally, the brochure itself has
become a way of educating people
about the value of light in the built
environment — without being promotional
to a particular company
or product.
As this article is written, the
Richard Kelly Exhibit has returned
to its warehouse; awaiting a call
to the IESNA office requesting
another journey.
It is my hope that this article will
infuse others with the incentive to
be the next stop. We often talk
about the need for more and better
lighting education. The Richard
Kelly Exhibit provides an opportunity
to see lighting at its very best. I
look forward to the day when the
exhibit’s reservation list stretches
long into the future.
Fred Oberkircher, IALD, IESNA,
LC, is an associate professor and
director of the TCU Center for
Lighting Education. The Center is
part of the Department of Design,
Merchandising & Textiles at
Texas Christian University in Fort
Worth, Texas. He is the president
of the West Texas Section of the
IESNA and serves as Director on
the IESNA Board. He has participated
in numerous IESNA educational
courses at the local and
regional level, and currently
serves as president of the IALD
Education Trust. Additionally, he
has been part of the development
team for the NCQLP Exam, currently
serving as chair of the
Simulation Committee.
16 LD+A/April 2001 www.iesna.org

“This ‘telephone’ has too many
shortcomings to be seriously considered
as a means of communication.
The device is inherently of
no value to us.”
—Western Union
internal memo, 1876
WORKING
WITH THE WEB
Brian Cronin,
Director of
Business
Development,
Planetmouse,
Inc.
Evolution is a wonderful thing.
Homo Sapiens have come a
long way since the days when
cave painting, drum thumping and
smoke signaling represented stateof-the-art
communications. Today,
the devices connecting us to the
rest of our global tribe function a bit
differently.
In this month’s column, we examine
one of the more popular options
for communicating online: email.
Due to its tremendous speed and
widespread reach, email and other
forms of electronic communication
have all but replaced paper-based
interchange. Since the response
time can be immediate, email is
much less formal than traditional
paper-based media.
Getting Connected
Most organizations now rely on
email and its web-based relatives to
provide much of the day-to-day interaction
between employees, suppliers
and customers. Embracing interactivity
is not only necessary to
remain competitive, but for survival
as well. Fortunately, there are email
options to address the needs of any
type of user. Creating a basic interactive
presence requires minimal
effort, experience and expense.
Let’s take a look at some specific
scenarios and their email solutions:
Q. Is email service included
when I set up a website?
When you create a website and
hire an Internet Service Provider
(ISP) to host it, email is almost
always included with the package.
Basically, a host rents out space on
a server, which includes access to
the site residing in that space. This
includes access for you to revise
site content, for visitors to reach
the site via the web and for two-way
email communication. It allows
your email address to reflect your
website address (URL), as in
cmburns@springfieldpower.com
Q. What if I don’t have a website?
How can I quickly establish
an email account?
It really depends on the level of
service you want. For most email
options, all you need is access to a
computer, or other device, that is
connected to the Internet. Other
Fortunately,
there are
email options
to address
the needs of
any type
of user
devices that provide web connections
include handheld PDAs, Internet
appliances and digital wireless
phones. Some people use email
everyday without having their own
computer, by going online at work,
in libraries or even coffee shops.
The most common way to connect,
however, is through an ISP.
You sign up, pay a monthly access
fee and you are ready to go. An
email account is provided free-ofchange,
allowing you to set up one
or more email addresses.
Companies like America Online
(www.aol.com), Earthlink (www.
earthlink.com), and AT&T World-
Net Service (http://download.
att.net/partners/) provide ubiquitous
Internet access.
There are a number of regional
ISPs to choose from, but you might
have trouble accessing your account
when outside the geographic
areas they cover. You almost certainly
would be liable for any long
distance calling charges, if you
dialed in directly (see below).
Q. I don’t have a website or a
monthly web account with an ISP,
but I do have access to the Internet.
What are my options for
setting up an email account?
It is very easy to set up an email
account without a monthly ISP subscription.
You do not even need your
own computer; just access to a
web-connection. You can establish
email accounts and addresses with
a Web-Based Email service. Webbased
email services allow you to
send and retrieve email via a your
web browser (like Netscape
Navigator or Microsoft Explorer)
from any web-connected terminal.
You enter the provider’s website,
set up an account and log in with
your user name and password. The
email provider stores all of your
messages for you and usually provides
added services, such as
space to store files, online spellcheckers,
personal address books
and distribution lists. As a tradeoff,
though, you may be subjected to
banner ads during throughout the
session.
Microsoft’s Hotmail (www.
hotmail.com) and Yahoo (http://
mail.yahoo.com) are two of the
more popular email services that do
not require an Internet Service
Provider (ISP) agreement and are
available to users at no cost.
Q. I have Internet access via a
monthly ISP subscription, but cannot
access my email account
from outside my geographic area.
Is there any way to access my
mailbox?
You can often access a regional
ISP-based email account through
a POP Mailbox. POP Mail: POP
(point-of-presence) is what ISPs
commonly offer, so you probably
have at least one POP mail
account. POP Mail services store
your email messages on a remote
server until you are ready to collect
them. You can connect to the
server at any time and download
your mail onto your computer.
Once you download the messages,
they are deleted from the server
and stored on your PC.
Unfortunately, if you have a
regional ISP provider, you may be
unable to dial into your mailbox
from outside a certain geographic
area or area code. However, you
18 LD+A/April 2001 www.iesna.org

should be able to dial-in with a secondary
POP mail account. POP
mail is what ISPs commonly offer,
so you probably have at least one
POP mail account.
I dealt with this issue a few years
ago. My ISP was a regional telecom
company and I was unable to
access my account from certain
parts of the country. I was directed
by my ISP to a secondary POP service.
The site allowed me to access
my primary account from any webconnected
computer on the planet.
I now use a secondary POP service
called Webbox (www.webbox.
com) on a daily basis, for a whopping
six dollars a year. Not only can
I access my existing email
accounts and check for new messages,
but I can files (up to a total
of 20 megabytes) but also access,
revise and forward any some files I
have uploaded (up to 20 MB) to my
account. Another way to access an
existing email account is through a
site called Readmail (www.
readmail.com).
Q. I want an email address that
I can use on promotional material
and give out to clients and associates.
Is it possible to set up a
permanent, dependable email
account that I can rely on, even if
I change my ISP?
You can set up a reliable email
address using a Mail Forwarding
(MF) service: This service automatically
redirects messages sent to
one email address to an existing
email address, which is required
when using a forwarding service.
Think of it as a P.O. Box at the post
office: Even if you move, you can
still access your mail. This way, if
you change your ISP, you can easily
make the change with your MF
account, and it will automatically
be redirected. Forwarding services
also let you choose a memorable,
distinctive name. I currently use an
MF called Bigfoot (www.bigfoot.
com). The sender is only aware of
the “Bigfoot” address, not my main
email address, allowing me to
change primary email accounts at
will. Another MF provider is
NetForward (www.netforward.
com).
Most of us are aware of the
essential role that email plays in
www.iesna.org
our day-to-day communication. As
this column only scratched the
surface of email’s functionality, I
will undoubtedly revisit the subject
in greater detail down the
road. In the meantime, feel free to
shoot me an email (brian@
planetmouse.com), or contact us
via the LD+A Questionnaire on our
website (www.planetmouse.
com/light).
Brian Cronin works with Planetmouse,
Inc. — an Interactive consulting
and development firm
based in New York. Planetmouse
is a team of developers, designers
and strategists who provide
Interactive business solutions and
web-based design for a wide
range of clients. You can learn
more about Planetmouse by visiting
www.planetmouse.com

You are a creative genius. Your
creative genius is so accomplished
that it appears, to
you and to others, as effortless.
Yet, it far outstrips the most valiant
efforts of today’s fastest supercomputers.
To invoke it, you need only
to open your eyes. 1
All too often, the human viewer
— with all of his strengths and
shortcomings — is overlooked
when the scene is lighted. Vision
has three components: light, the
VIEWS ON THE
VISUAL
ENVIRONMENT
Louis
Erhardt
stimulus for vision; the scene being
viewed; and the eye, the gateway to
understanding what is seen.
“One of the most useful operations
in any sensing system, natural
or artificial, is a running normalization.
In psychology, it is called adaptation;
in engineering, it is automatic
gain control. The idea is to adjust
the sensitivity to the average level
of input, so that all changes are
made to lie in the same limited
dynamic range.” 2
Adaptation is the cornerstone of
vision. The field of view is always
less than the total surround. When
such fields are evaluated, adaptation
may be greater or less than the
overall average, and luminances will
be non-uniform. But, uniform or not,
the weighted luminances (luminance
x area) determine the adaptation
if one’s directed attention
moves about. If fixed on one area, as
a draftsmen’s concentration on his
work, adaptation may take on the
higher adaption of that view, “near
the object of regard — very roughly
within about 10 degrees of it.” 3
“The adaptability to the enormous
range of intensity of illumination,
which we meet in nature, is
secured: 1) by changing the opening
and thereby the amount of light
admitted to the eye, by contracting
or opening the pupil; 2) by the
fatigue of the optic nerves (exposed
to high intensity of illumination, the
nerves become less sensitive, while
at low intensity they rest, and thus
become more sensitive); and 3) by
the logarithmic law of sensation.
The impression made on our senses,
eye, ear, etc., is not proportional
to the energy which produces the
sensation, that is, the intensity of
the light, the sound, etc., but is
approximately proportional to the
logarithm. 4
Adaptation
is the
cornerstone
of vision.
The field of view
is always
less than the
total surround.
Visual benefits of adapation may
be impaired if glare occurs. “Glare is
the sensation produced by luminances
within the visual field that
are sufficiently greater than the
luminance to which the eyes are
adapted to cause annoyance, discomfort
or loss in visual performance
or visibility.” 5
Consideration of glare can only
confuse the determination of adaptation
so it will not be pursued. It is
assumed that no excessive brightnesses
are in the field of view.
“Human vision is duplex; man is
in the fortunate position of having
both photopic and scotopic vision
[and all adaptations between].” 6
Sensitivities to acuity, color,
contrast and motion, all vary as
the adaptation changes. A given
luminance will be seen as differing
brightnesses as adaptation
changes.
Light, the stimulus for vision, is
also electromagnetic energy. As
energy, it can be measured in candelas
per steradian or lumens per
W. Light for vision has no measure,
but can be judged one area to
another. The eye is an excellent
comparator.
When an object first appears, it is
threshold detection, when it has
greater size or contrast, it becomes
sensation, and when it is recognized,
it is perception.
What we read into strange unfamiliar
shapes depends upon images
stored in memory. An excellent
example by the Canadian artist,
Ruth Kohler, 7 is a weird blotch of
black on white. If one’s mind
regards it as a snow scene, the
shape becomes shadows of a farm
building. The process is a progression
from sensation to perception.
Judgments of subjective properties
are just that — judgments that
are never absolute, but vary with
the attitude and experience of the
observer.
The beauty of our ever changing
natural surroundings, including the
sun and the sky, influences our planning
of lighting designs. The sun
changes direction; color is modified
continuously by rain, snow, fog,
clouds and a host of other factors.
Natural variations are infinite in
number.
Contrast as a visual sensation of
a difference in brightness, is often
defined by the equation: C =
L o – L b )/L b , where C is constant, L
is luminance. Regrettably, there are
several alternate forms of this equation,
which generate other results.
Luminance is the photometric from
which the sensation of brightness is
obtained. A light object against a
dark background is deemed a positive
contrast; dark object on a light
background, a negative contrast.
Pereception of an object, represented
by contrast, is often an immediate
response by the average individual.
Parry Moon said, “It is a canon of
physics that a concept shall not be
defined in more than one way,” and
added, “The trouble is fundamental,
is inherent in the very fact that sensation
does not reside in the world
of physics and thus, cannot be
treated as a physical quantity.” 8
Fully diffusing surfaces show no
highlights, but do exhibit lightness
differences, which in color are
called tints and shades.
20 LD+A/April 2001 www.iesna.org

By emphasizing points of interest,
suppressing unimportant
details, and composing the visual
elements, a design may deliver its
message more swiftly, accurately
and forcefully.
Some open questions: Do we see
in two dimensions and create the
third as a mental construct? If the
eyes are blind when the eye
changes its foveal concentration,
do we not always see a static twodimensional
image? Isn’t our percept
of motion derived from sequential
static images? Wouldn’t blur
result if we could actually “see”
motion?
There is no more appropriate way
to conclude this discussion of vision
and the resulting sensation than to
quote, “From the point of view of
behavior, a specification of what a
subject does when he analyzes
‘sensation,’ and what he does when
he perceives is not now available.” 9
2. Brou, Phillippe, et al. Scientific
American.
3. Waldram, J.M. “Studies in
Interior Lighting.” IES. Vol. 19. No.
4. 1954
4. Steinmetz, Charles P. “Radiation,
Light and Illumination.” Mc-
Graw-Hill. 1918.
5. “American National Standard/IES
RP-16.” Illuminating
Engineering Society of North
America, 1985.
6. “Encyclopedia of Science and
Technology.” McGraw-Hill. New
York. 1971.
7. Erhardt, L. “Views on the
Visual Environment.” LD+A. June,
1986.
8. Moon, Parry. “Scientific Basis
of Illuminating Engineering.” Mc-
Graw-Hill. New York. 1936.
9. Wolman, Benjamin B. “Handbook
of General Psychology.” Prentice-Hall.
New Jersey. 1973.
Do we
see in
two
dimensions
and
create the
third as a
mental
construct?
I offer: Sensation occurs when the
stimulus is strong enough to pass
the absolute threshold of response,
but no strong enough to initiate the
process of perception, i.e., to
engage the mind, which will be the
subject of our next discussion.
References
1. Hoffman, Donald D. “Visual
Intelligence.” W.W. Norton. New
York.
www.iesna.org

Iread Kimberley Szinger’s column
in the February edition of LD+A
with interest. I agree with her
that volunteering is an untapped
resource that we don’t fully appreciate.
Take me for instance.
REGIONAL
VOICES
Jeffrey Davis,
Northwest
Region RVP
After working in this industry for
20 years, I knew little or nothing
about the IESNA. When our region
was hosting the bi-regional conference
in 1991, the Board was having
a hard time getting volunteers from
the section to help in the administration
of the conference.
The then-president, who was a
friend of mine, asked me whether
I would consider lending some
time and energy. It seemed like a
good opportunity for me to work
with people I had known and/or
worked with in the past who knew
what I had to offer. By the time
the conference started, I was a
new member of IESNA.
We often talk about the importance
of retaining membership. I
believe expanding membership
should be just as important. Asking
people to volunteer when they are
not current members is a great way
to gain new members. As in my
case, it’s a win-win situation: They
can make a valuable contribution to
their local section while they sharpen
their own gifts and skills. In other
words, IESNA benefits from the volunteer’s
expertise, and the volunteer
returns to the workplace
empowered with the most recent
developments in the field.
IESNA has enhanced my career
by providing a variety of opportunities.
If we can communicate this
message to our colleagues who are
not yet members we will be able to
expand our arena of influence and
our membership.
The benefits of volunteering do
more than simply enhance the
Society or one’s career; volunteers
help others realize their potential. I
am grateful for the members who
took the time to not only encourage
me, but to mentor me as well. It
was through the help of others that
I came to see how my contribution
could make a difference in my section.
Because of the individuals who
were willing to give me some of
their time and attention, I have
been able to serve on the Board of
Managers, as treasurer, as vicepresident
and as president. The
Asking
people to
volunteer
when they
are not
current members
is a
great way
to gain
new members.
simple act of asking for my help on
one project and then giving me confidence
and experience has resulted
in my being able to make an
impact on both the regional level,
and now the international level as
regional vice-president.
I would like to take this opportunity
to express thanks to my region,
particularly, my regional chairs.
As we go through seasons in our
careers, we also going through new
seasons in our lives. My father, who
is very close to me, has been seriously
ill these last few months and
I have had less time to serve my
region. These members have
stepped up their efforts and taken
much of the burden from my shoulders,
whether they realize it or not.
This is what being a part of and
serving with others in IESNA is all
about: making new friends and
sharing in their professional lives
and beyond.
22 LD+A/April 2001 www.iesna.org

P H O T O N S
NOTES ON LIGHTING DESIGN
Ballasts for
Barristers
Whether you’re part of a pit crew
for a Formula 1 racing team, or a set
designer for the Hollywood film industry,
the element of a “team atmosphere”
is always essential to accomplishing
any task. Since 1954, the
law firm of Newton, Kastner & Remmel
has been an example of this
team-first attitude.
Located in Mountain View, Calif., the
firm has advised Silicon Valley executives
and local, national and international
companies on a wide range of
legal issues, including stock options,
labor law, environmental issues and
individual compensation.
The legal rating service of Martindale-Hubbell
has consistently awarded
the firm the highest possible rating for skill and integrity. It only seemed logical for the office surroundings to be worthy of the
same level of praise and recognition, both for its functionality and its appearance.
“Since our award-winning building was built in 1986, a variety of fluorescent lamps had been used to re-lamp office space,”
said Stephen Newton, founding partner. “This created a hodge-podge look and resulted in problems when lamps needed replacement.
So, we decided to standardize the whole lighting system and began a study of existing lighting technology.”
Newton teamed with his lighting maintenance contractor. Tadco Supply, San Jose, Calif., and decided to install a new
electronic fluorescent lighting system. The new system includes 576 new 32 W T8 Fluorescent lamps and 260 new
MagneTek Triad B232I120RH reduced harmonic electronic ballasts, which replaced the already existing fluorescent lamps
and magnetic ballasts.
Newton said the firm was looking for light quality that would enhance the facilities for the 12 attorneys and support staff, as
well as be highly functional for prolonged periods of document review.
Because of the time and research involved, many companies underestimate the savings generated from lighting system retrofits
and upgrades. Most lighting upgrades can save approximately 50 cents per sq ft, per year, with an average payback of 2.5
years. Lamp design, materials electronic ballasts
and lighting control systems contribute
to lighting efficiency, reliability and quality.
With the use of electronic ballasts, the overall
efficiency of the lighting system in the
building is improved, on average, between 20
and 40 percent.
“The reaction of the partners and staff to
the new lighting system has been very positive,”
Newton said. “We decided to retrofit
the tenant space on the first floor of the building
with the same lamp/ballast package we
used in our own offices.”
—John-Michael Kobes
www.iesna.org
LD+A/April 2001 23

P H O T O N S
NOTES ON LIGHTING DESIGN
Six Fixtures Does It All
Bateman Sossman Advertising Agency purchased a small office building,
originally built in 1928, on the outskirts of downtown Memphis. The remodeling
design of the interior of the building had to be extremely contemporary,
to fit with clients’ expectations of the advertising product the company
produces.
However, each production employee has varied tasks to complete in one
space, such as sketching, artistic design, copywriting both by hand and on
a computer, and — of course — brainstorming new ideas and themes.
Thus, the lighting design needed to also be flexible and functional.
It was decided that track lighting would be the main lighting choice,
with MR-16 fixtures of various types, plus chandeliers and cylinder softly
lighting low footcandle areas, and PAR-30 downlights furnishing higher
illumination levels. In offices on the second and basement floors, 2 x
4 fluorescent with 3-T-6 cool white lamps were utilized. Some of the first
floor executive offices also included downlights for the seating areas
and track lights for bookshelves and desks.
Overall, the lighting design for the entire building includes only six types of fixtures: track with MR-16 or 50W PAR-30
lamps in open-type fixtures; downlights 4 in. in diameter, with 50 W PAR-20 lamps; 6 in. round cylinders, pendant-mounted,
with 150 W A-23 lamps; louvered RLM type chandeliers with 4-tube PL fluorescent lamps in glass enclosures (self-ballasted)
or 150 W A-23 lamps; under cabinet lights with white acrylic lens, 1 in. deep; and fluorescent 2 x 4 fixtures with
3-T-6 cool white, 4 ft lamps
The first floor of the building is devoted to the artistic staff, while the second floor houses
the executive offices and a large conference room. A smaller conference room, offices
and some storage areas are located in the basement.
The first-floor lobby has pendant-mounted chandeliers in front of the reception desk, while
the desk itself has track lighting mounted above it with MR-16 fixtures. All pendant-mounted
fixtures throughout the first floor have their junction boxes and canopies mounted above
the egg crate ceiling and painted black. The pendant itself is also painted black to just above
the egg crate. Lighting track is surface-mounted on the bottom of the egg crate ceiling.
Corridors on the first floor are illuminated to 28 fc with the chandeliers. Each occupant of
the first floor offices has personalized his office to some degree by adding table or floor
lamps and/or floor-mounted uplights. The lighting track is segmented and on dimmers. Thus,
the office footcandle level varies as desired by the occupant.
Two side corridors lead from the lobby to a working desk area where employees cut and
paste ad mockups. The table is illuminated by a rectangular lighting track to 70 fc, while the
surrounding area is illuminated to 30 fc by pendant-mounted cylinders.
In the basement, there is a break room, which has a seating area illuminated to 30 fc
by downlights. There are counters and cabinets with under cabinet lights on one wall,
while the other wall has photographs showing ads and art work, illuminated by a lighting
track with the PAR-30 fixtures.
Next to the break room is a conference room, with
downlights, chandeliers and lighting track. Down the hall
from the break room is an archway with two wall
sconces leading to a private office area. The hallways
again have downlights, and the private offices have 2 x
4 fluorescents providing 80 fc.
In summary, it might seem that the selection of only
six different lighting fixtures would lead to monotony,
but a sense of lightness and airiness is evident
throughout, due to careful placement and use of the
fixtures. The lighting needs of both the creative and
executive staff have been met, along with the added
bonus of providing clients the impression of a “cutting
edge” advertising agency.
—Robert Puckett
PHOTOS: ROBERT L. PUCKETT
www.iesna.org
LD+A/April 2001

P H O T O N S
NOTES ON LIGHTING DESIGN
Paradise by the Hubcap Light
My father, Larry Maynard, inspired the NostalgaLite. He has a deep
love of classic muscle cars, typical of Baby Boomers. He raised me
with several cars in our garage and driveway, and my childhood was
spent visiting cruise-ins and car shows. When I was very young, my
father had a turquoise 1957 Chevy Bel-Aire convertible. Sadly, he sold
the car and has regretted it ever since.
Recently, I saw a 12-in. reflector awaiting a photometric test and
immediately thought, “That’s just the size of a hubcap.” I called
home and asked my father for a spare hubcap to a ’57 Chevy that
could be used for an experiment. Luckily, he decided to part with one.
I drew out several possibilities of how to light such an awkward piece of metal. Originally, I had wanted to make it a MR-
16 fixture, but the question of heat and directionality of light output was a major factor. I acquired a large, two piece reflector
with trim and optical assembly.
The challenge was how to keep a heavy hubcap suspended below a recessed luminaire, while creating a lighting effect that
was neither gaudy nor unnoticed. The “spinner” of the hubcap was removed and the center, plastic cap was removed and
repainted. The center decal was cut out of the hubcap and 3 in. screws were placed through original holes drilled for the spinner.
The spinner was then placed atop these screws creating an approximate
3 in. gap between it and the hubcap with a hole that would allow
light to filter through. The idea was to direct the light through this passage
and to catch it in the warm red plastic cap inside the spinner. Oblong holes
were also punched along the perimeter of the hubcap face to allow accent
light to spill through and highlight the curves of its design.
An H.I.D. 12 in. diameter downlight luminaire was used and converted
to a 42 W, triple tube compact fluorescent with electronic ballast. This particular
light provided low heat, and a soft, even glow through the perforations
in the hubcap. A red acrylic prismatic reflector was then envisioned
as a “non-lighting ‘mood’ element.”
I imagined a red, almost neon effect casting a warm glow behind this
hubcap. I knew, somehow, I wanted this piece to create a ring-like glow.
The 12 in. reflector was pushed inside the 12 in. acrylic reflector of the
downlight and the difference provided about a 3-in. ring extending
beyond the fixture. Two holes were drilled into the acrylic reflector to allow spring clips to pass through. Spring clips were
pop-riveted onto the inner face of the hubcap to provide a means of support.
Once everything was assembled, the hubcap proved to be too heavy for the spring clips. Stronger springs were attached to
each side of the luminaire, linking all of the spring hooks. This provided enough strength to hold the hubcap in place.
When placed in the drop ceiling in a test environment, the NostalgaLite provided a warm glow with satisfactory results.
Depending on the ambient lighting, the NostalgaLite can provide a deep red glow, or just merely a faint glow with light reflecting
off of the shiny metal. When placed into the ceiling, the red reflector performed just as I had hoped it would. It formed a
ring approximately 3 in. tall flush to the ceiling. The hubcap was
attached to the bottom part of the ring. The effect was as if there
was a small, neon light circling the decorative piece.
After its debut, the fixture was then carefully wrapped in bubble
pack and placed in a large bag. (The luminaire itself was too large
to fit into any readily available boxes)
My father unwrapped his NostalgaLite, Christmas morning,
after months of wondering what I wanted with a hubcap. He was
surprised to see it light up. He had expected to find a clock looking
back at him. The NostalgaLite remained illuminated underneath
the Christmas tree as the presents were being passed
around to family.
—Lori S. Maynard
26 LD+A/April 2001 www.iesna.org

Lewin Named
Man of the Year
Ian Lewin, PhD, LC,
past president of the
IESNA, was awarded
the 2001 Individual
Achievement Award
by Aerospace Lighting
Institute (ALI).
The honor is bestowed
in recognition of Dr. Lewin’s
lifetime of services in aerospace lighting
and specifically for his work with
the NASA Space Shuttle, the International
Space Station, and the U.S.
Air Force fighter plane projects. Lewin
ILLUMINATING
ENGINEERING
SOCIETY
NEWS
VOLUME 31, NUMBER 4
APRIL 2001
is the president of Lighting Sciences,
Inc, of Scottsdale, Ariz. Currently, he is
the chairman of the IES Lamp Spectral
Effects subcommittee. He holds the
Society’s Distinguished Service Award,
and he has been past chairman of the
Testing Procedures and Roadway
Lighting Committees. He received the
1997 IESNA Medal Award, the Society’s
highest honor. In his career, he
has published more than 120 papers,
and holds 22 patents.
IESNA
Calendar of Events
April 22-24
IESNA Southeastern Regional
Conference
Atlanta
Website:
www.iesgeorgia.org
May 29-June 1
LIGHTFAIR INTERNATIONAL
Las Vegas
Contact: AMC, Inc.
404-220-2221/2215
www.lightfair.com
June 7-10
IESNA Maritime Regional Conference
Halifax, Canada
Contact: Lee Hiltz • 902-484-3008
June 20-23
IESNA Northeastern Regional
Conference
(Beacon of Light)
Boston
Contact: Doreen Le May Madden
dmadden@luxlightingdesign.com
781-237-1989
Members of the SALC committee gather in Phoenix, Ariz.
IESNA SALC Committee Meets
The IESNA Street and Area Lighting Committee met this past February over
four days to both plan the upcoming SALC Conference and to hold its regular
business meeting.
The committee’s mission is to meet market challenges and customer
expectations by promoting excellence in street and area lighting. Its goals
are to provide a forum to exchange information on current lighting issues and
to identify and disseminate marketing strategies, new technologies, and operational
practices. The Full Committee met to re-evaluate its scope; reassign
sub-committees and areas of responsibility; and lay the groundwork for future
goals and objectives.
One of the committee’s current goals is to produce an annual conference for
outdoor lighting professionals. In its 20th year, the SALC Conference serves to
bring together lighting specialists, program planners and marketing and utility
customer service representatives with responsibility for outdoor lighting.
Included are investor owned, municipal and public utility personnel as well as
manufacturer’s representatives.
continued on following page
August 5-8
2001 IESNA Annual Conference
Ottawa, Canada
Contact: Valerie Landers
212-248-5000, ext. 117
October 14-17
IESNA Street & Area
Lighting Conference
Orlando
Contact: Valerie Landers
212-248-5000, ext. 117
October 22-25
IESNA Aviation Lighting Seminar
San Diego
Contact: Baljit Boparai
609-821-7756
baljit.boparai@flysfo.com
www.iesalc.org
www.iesna.org
LD+A/April 2001 27

IESNA SALC Committee
continued from previous page
This year’s conference will be held in
Orlando, at the Caribe Royale Resort
Suites and Villas Hotel from October
14-17, 2001. This conference is the
only lighting forum that specifically
serves the outdoor lighting market.
The conference program will showcase
the latest in lighting products and services
through educational sessions
and open forums, case studies and
product information. Product design,
marketing strategies, customer service,
and sales and training are just a
few of the hot topics which will be covered.
Two lighting courses (basic and
advanced) will be conducted on
Sunday, October 14th. More than 40 of
the most active trade allies will exhibit
the latest in outdoor lighting products
and services during the three-day
conference program.
Conference Committee Chair, Zach
Gibler, Lithonia, says he is “excited
about this year’s conference program
and noted that the conference has
gained both prestige and quality educational
offerings, already evident in
its second year under the sponsorship
of the IESNA and also looks forward to
a great attendance for Orlando.”
SUSTAINING
MEMBERS
The following companies have elected
to support the Society as Sustaining
Members which allows the IESNA to fund
programs that benefit all segments of the
membership and pursue new endeavors,
including education projects, lighting
research and recommended practices.
The level of support is classified
by the amount of annual dues, based
on a company’s annual lighting revenues:
Copper: $500 annual dues
Lighting revenues to $4 million
(Copper Sustaining Members are listed in
the March issue of LD+A, as well as in
the IESNA Annual Report. There are currently
233 Copper Sustaining Members).
Silver: $1,000 annual dues
Lighting revenues to $10 million
Gold: $2,500 annual dues
Lighting revenues to $50 million
Platinum: $5,000 annual dues
Lighting revenues to $200 million
Emerald: $10,000 annual dues
Lighting revenues to $500 million
Diamond: $15,000 annual dues
Lighting revenues over $500 million
IES SUSTAINING
MEMBERS
DIAMOND
Cooper Lighting
General Electric Co.
Lithonia Lighting
OSRAM SYLVANIA Products, Inc.
Philips Lighting Co.
EMERALD
Holophane Corporation
PLATINUM
Day-Brite Capri Omega
Lightolier
Lutron Electronics Co, Inc.
Ruud Lighting, Inc.
GOLD
ALP Lighting Components Co.
Altman Lighting, Inc.
Barth Electric Co., Inc.
Detroit Edison
Edison Price Lighting, Inc.
Finelite, Inc.
Indy Lighting, Inc.
Kurt Versen Co.
Lexalite Int’l Corp
Lighting Services, Inc.
Lightron of Cornwall, Inc.
Martin Professional, Inc.
Matsushita Electric Works, Ltd.
Musco Sports Lighting, Inc.
Niagara Mohawk Power Corp
Poulsen Lighting, Inc.
Prudential Lighting Corp
San Diego Gas & Electric
SIMKAR Corp
SPI Lighting, Inc.
Steelcase, Inc.
The Bodine Company
The Kirlin Company
United Illuminating Co.
Visa Lighting
SILVER
Ardron-Mackie Limited
Aromat Corp.
Associated Lighting Representatives, Inc.
Axis Lighting, Inc.
Bartco Lighting, Inc.
BJB Electric Corporation
Carinci Burt Rogers Eng, Inc.
Cinergy PSI Energy
City of San Francisco Bureau of Light & Power
Con Edison Co of New York
Con-Tech Lighting
Custom Lighting Services LLC
Custom Lights, Inc.
Day Lite Maintenance Co.
EEMA Industries
Elf Atochem North America Inc.
Energy Savings, Inc.
ENMAX
Enterprise Lighting Sales
ERCO Lighting USA Inc.
Exelon Infrastructure Services
Eye Lighting Industries
Eye Lighting International of North America
Factory Sales Agency
Fiberstars, Inc.
Focal Point
Gammalux Systems
H E Williams, Inc.
HAWA Incorporated
High End Systems, Inc.
Hubbell Lighting, Inc.
Kansas City Power & Light Co.
Kenall Mfg Co.
King Luminaire Co.
Kirby Risk Supply Co, Inc.
Ledalite Architectural Prdcts
Lee Filters
Legion Lighting Co.
Leviton Mfg Co, Inc.
Linear Lighting
Litecontrol Corp
Litelab Corp
Litetronics Int’l, Inc.
Lucifer Lighting Co.
Multi Electric Mfg, Inc.
Northern Illumination Co, Inc.
Optical Research Associates
Optima Engineering PA
P & K Pole Products
Paramount Industries, Inc.
Portland General Electric
Power Lighting Products, Inc.
Prescolite, Inc.
PSE & G
R A Manning Co, Inc.
Radiance, Inc.
Reflex Lighting Group, Inc.
Sentry Electric Corp
Shakespeare Composites & Electronics Division
Shaper Lighting
Shobha Light Designers
Southern California Edison
Stage Front Presentation Sys.
Stebnicki Robertson & Associates
Sternberg Vintage Lighting
Sterner Lighting Systems, Inc.
Strand Lighting, Inc.
TXU Electric & Gas
Vestar Limited
W J Whatley, Inc.
WAC Lighting Co.
Wiko, Ltd.
Winnipeg Hydro
Wisconsin Public Service Corp
Zumtobel Staff Lighting, Inc.
As of March 2001
28 LD+A/April 2001 www.iesna.org

IESNA 2001 Annual Conference Set for Ottawa Canada
The IESNA Annual Conference is set
for August 5 through August 8, 2001
in Ottawa, Canada at the Westin
Ottawa Hotel. This three-day conference
serves as the most comprehensive
educational forum for the lighting
industry. Author-presented paper sessions
will focus on the latest research
in design theory, measurements and
controls, photometry, daylighting,
energy, ballasts and fiber optics. Educational
seminars will cover a wide
range of topics including environmental
issues, exterior lighting design,
the LC update, energy and government
issues, design and architectural
trends and lamp technologies.
The conference opens Monday with
the annual meeting of the Society,
presided by incoming IESNA President,
Pamela Horner, OSRAM SYLVA-
NIA, Inc. Also on Monday, the IESNA
will present its prestigious awards
(Medal, Marks, Distinguished Service
and Fellow) at a special luncheon honoring
outstanding individuals who have
furthered the art and science of lighting
or advanced the Society’s goals
and mission. A Monday evening offsite
event is planned at the
National Gallery in Ottawa.
On Tuesday, the Society’s IIDA
(International Illumination Design
Awards) luncheon will be held.
Lighting designers from around the
world will be recognized at a gala luncheon
featuring their outstanding and
original lighting design projects from
this year’s program.
On Wednesday, new products and
services will be showcased in a unique
Progress Report presentation followed
by a tabletop exhibit featuring products
from leading manufacturers in the
lighting industry.
Join us in Ottawa as local IESNA
National Capital Section members and
the Canadian Region welcome you.
Full Conference Fee: $525 Member/$575
Nonmember (meals included);
Full Technical Fee: $420 Member/$460
Nonmember; Daily Fee:
$160 Member/$180 Nonmember;
Retired IESNA Members and IESNA
Student Members; Full Technical
Fee: $50.
Members in the News
Cary S. Mendelsohn,
founder and president
of Imperial Lighting
Maintenance Company,
Silver Spring,
Md., has been reelected
chair of the
National Lighting Bureau,
to serve a third consecutive oneyear
term. Mendelsohn has served on
the NLB Executive Committee since
1988, representing the interNational
Association of Lighting Management
Companies (NALMCO).
Five new associates were named to
lead OSRAM SYLVANIA’s General
Lighting strategic business units
(SBUs).
Joel Beyerle, manufacturing manager
of the high-speed fluorescent lamp
plants will remain based in Versailles,
Ky., as SBU general manager for the
regular fluorescent product line — a
position he has held since 1995.
Chris Coliandris, manager of the HID
lamp plant in Manchester, N.H., since
1999 will retain his office at that location
as SBU general manager of HID
lighting products.
Fiberstars Receives R&D Award
Fiberstars, Inc. of Fremont, Calif., has received a $2 million R&D Award from
the Advanced Technology Program (ATP) of the U.S. Department of Commerce
National Institute of Standards and Technology (NSIT). The money will go toward
developing a continuous manufacturing process for new technology fiber optics
designed primarily for lighting applications.
The new fiber can potentially offer significant performance and cost advantages
for lighting systems, which can be up to five times more efficient than conventional
lighting, at one-fifth the operating cost.
Fiberstars acquired the patents as part of its Unison acquisition last year.
The company estimates it will take close to three years and $3.4 million in
R&D to complete the work.
Fiberstars intends to combine the new fiber with future generations of its
new CPC technology, also acquired in the Unison deal. This optical innovation
will improve fiber optic illuminator efficiency by a factor of three over current
systems. Optical illuminators base on the CPC technology are expected to be
available in 2001.
Brian Ditchek, previously
the director of
design and development
for General
Lighting, will now be
SBU general manager
for specialty fluorescent.
Ditchek holds
12 patents and has published more
than 50 scientific articles. He will split
his time in his new assignment
between plants in Drummondville,
Quebec, Canada, and Maybrook, N.Y.
Richard D. Leaman will join General
Lighting as SBU general manager for
incandescent and will work at the St.
Marys, Pa., lamp plant. Since 1997,
Leaman has been director of sales and
marketing for OSRAM SYLVANIA’s
Electronic Components & Materials
business in Warren, Pa.
Kevin P. McGarry was named SBU
general manager for the company’s
tungsten halogen product line. He will
remain based at the Winchester, Ky.,
halogen lamp manufacturing facility,
where he has been plant manager
since 1999.
ETC, Middleton, Wis., has
announced Bill Gallinghouse will be
rejoining the company in the newly
created role of vice-president of business
development. His responsibilities
continued on following page
www.iesna.org
LD+A/April 2001 29

Members in the News
continued from previous page
will include special projects and concentrating
on the coordination of international
sales efforts. Gallinghouse
originally joined ETC in 1990 as vicepresident
of sales and subsequently
served as managing director of ETC
Europe between 1996 and 1998. For
the past three years, he served as
senior vice-president of sales for
Fourth Phase, previously known as the
PRG Lighting Companies.
ETC welcomes Gilles Benoist and
Michael Harris of CETEC Group as its
new representatives for Candada.
Both Benoist and Harris have experience
in the Canadian production and
performance industry. Benoist served
for four years previous to CETEC as
National Sales Manager at William F.
White. Harris served as ETC Product
Manager for five years with William F.
White.
Vincent Lighting Systems, Inc.,
Pittsburgh, has hired Kevin Matz as
Rental Manager in its Pittsburgh
offices. Matz has worked as the lighting
designer on several shows at the
New Castle Playhouse and The Red
Barn Player, which are both located in
the greater Pittsburgh area.
Horton Lees Brogden Lighting
Design has announced the appointment
of three new associates. Douglas
Russell, LC; Hrout Tania Tina Aghassian,
LC; and Lilian M. Rodriguez, LC.
Martin Professional has appointed
Claus Rothmann as director of logistics.
Rothmann comes to Martin from
a position as vice-president of Dandy
Company’s Corporate Supply Chain
Development, where he was engaged
in strategic development of the company’s
global supply chain. Also,
Martin Professional’s head of Latin
America operations, Peter Hald, has
moved his headquarters to Buenos
Aires, Argentina from Miami, in order
to be closer to the main Latin
American markets.
Leigh Anne Aiken has been promoted
to account manager for High End
Systems, Inc., Van Nuys, Calif. In her
new position, she will support the
Middle East, Africa, Pacific Rim and
Southeast Asia accounts. Previously,
Aiken was an inside sales representative,
working closely and supporting
the Southeast Asia/Pacific Rim sales
staff. Additionally, John Wiseman was
named vice-president of worldwide
sales. Wiseman recently served as
vice-president of special projects with
specific responsibilities for sales
efforts in Europe and Asia. The promotion
gives Wiseman total sales responsibility
worldwide.
Luxo Corporation has added four
new professional lighting sales agencies
to the company’s national roster.
Each company now represents Luxo
interior lighting products to professional
design and corporate specificers,
and contract furniture dealerships, in
their respective territories. The new
representative agencies and contacts
are, Bob Trewartha, Gasser Bush; Tom
Thomson, Southern California Illumination;
Dave Johansen, Johansen Lighting
Products; and Michael Begier,
Enterprise Lighting.
Lighting Industry
Loses Positive
Innovator
The founder and president
of Engineered
Lighting Products,
Ralph W. Swarens,
passed away of a
heart attack on
January 7, 2001. He
was 69.
Swarens began his career in the
lighting industry in 1961. Because of
his strong desire for quality lighting
design, he later moved into consulting.
After noticing a niche in the market
that was not being addressed,
Swarens founded Engineered Lighting
Products in 1985 to manufacture high
quality lighting products.
Swarens was a member of IESNA
and, in the past, served as president of
the IESNA Southern California section
as well as vice-president of the U.S.
Institute of Technical Theatre, Southern
California section.
Call For Entries for
National Lighting Design Competition
Cooper Lighting, Elk Grove Village, Ill., has announced its call for entries for its
25th annual National Lighting Design Competition. Held under the auspices of
ASID, the competition focuses on furthering the understanding, knowledge and
function of lighting as a primary element in interior design.
Judging for the competition will take place in July/August, 2001, by a professional,
independent panel of ASID members, lighting designers and architects. All
awards for both the professional and student category will be presented in
October during the ASID National Awards Gala in New York.
The competition is open to any lighting designer, architect, interior designer or
professional who uses light in an interior or exterior permanent application, which
requires the use of any or all of the Cooper Lighting brands. Students in any of
these disciplines are also eligible to
enter any conceptual work dealing
with lighting, and these conceptual
entries will be judged in separate student
category.
Rule changes from previous years
include only the elimination of specific
application categories that each
entry was required to fall within. With
this elimination, there will be no minimum
or maximum number of awards
given, so each project will be judged
on its own merit.
Nuckolls Fund
Establishes Website
The Nuckolls Fund for Lighting Education,
New York, announced that its
new website www.nuckollsfund.org
will have information on the Fund’s
mission, contributors, and management.
The site also allows educators
to download information that describes
how to apply for the three grants that
are currently funded.
30 LD+A/April 2001 www.iesna.org

Donation To Build University Laboratory
OSRAM SYLVANIA, Danvers, Mass.
has made a donation to the Engineering
Technology Lighting program
of the University of New Hampshire in
Durham, for a new laboratory at
OSRAM SYLVANIA’s manufacturing
facility in Manchester. OSRAM SYLVA-
NIA, which employs more graduates
from the 26-year-old program than any
other employer, will build a laboratory
at the rear of its plant.
A grand opening ceremony is scheduled
for the summer of 2001. The company
also announced the award of a
$6,000 payment on a $30,000 multiyear
commitment made in 1997 to
help underwrite the school’s Engineering
Lighting Technology program.
In other news, John Dawsey, manager
of theater products in the photooptic
division at OSRAM SYLVANIA,
has retired. Dawsey, a veteran of the
cinema equipment industry, worked for
OSRAM SYLVANIA since 1961. His
duties have been passed on to Bob
Simminger, manager of theater products
in the photo-optic division at
OSRAM SYLVANIA.
Targetti North America Established
Targetti-Tivoli, Inc., Santa Ana, Calif., and its partner organization, Extérieur
Vert Lighting, have joined forced under a unified corporate name, Targetti
North America. The move signals to professional light specifies that hundreds
of original, contemporary-design interior and outdoor commercial and upscale
residential lighting products manufactured and marketed by the three companies
will now be available from a single-source with centralized technical and
customer support.
Ledalite Opens New Manufacturing Facility
Ledalite has opened a new manufacturing facility and headquarters of Ledalite
Architectural Products in Langley, British Columbia. The new 160,000 sq ft facility
is an increase from the previous 75,000 sq ft facility, and is now one of the
largest and most modern in the North American lighting industry. The multi-million
dollar move and expansion includes a state-of-the-art powder coat facility,
and focused factories for the company’s new Steelform steel lighting product
family and its aluminum, Ergolight and transportation lighting systems.
New Members
The IESNA gained 101
Members (M), associate
members and student members
in February.
INDIVIDUAL MEMBERS
Canadian Region
Noemi Byrnes, Vaughan Byrnes
Engineering, North York, Ontario
East Central Region
Kelly L. Alio, Maryland Lighting,
Reisterstown, Md.
Carol M. Crampton,
Crampton/Dunlop Architectural
Lighting Services, Towson, Md.
Lewis S. Farinholt (M), Teng &
Associates, Richmond, Va.
Michael Larkin, Chesapeake
Lighting, Columbia, Md.
Jay Madara, University of Fine Arts,
Philadelphia
Sharon Miller (M), Food and Drug
Administration, Rockville, Md.
David Allan Stevens (M), Whitman
Requardt & Associates, Baltimore
Fairmont State College
Jason Hanshaw
Great Lakes Region
Eric Baltzell (M), Garmann/Miller
Architects, Celina, Ohio
Barry Croteau (M), General Motors
Corporation, Detroit
David Daukas, Clotfelter-Samokar,
Lexington, Ky.
Lisa M. Fernandez (M), Niagara
Mohawk Power Corporation,
Buffalo, N.Y.
Kevin Fleming, Indiana Council-
Outdoor Light, Indianapolis
Jon Forster, Carl Walker,
Kalamzoo, Mich.
Zacharey W. Hartt, OSG Energy,
Farmington, Mich.
Christopher King, Light Up Your Life,
Minerva, Ohio
Christopher Michael (M), Kopp
Glass Inc., Pittsburgh
Jeffrey Singer, Guide Corporation,
Pendleton, Ind.
Diane Soper (M), Lumenociti, Inc.,
Indianapolis
Phillip St. George, Highland, Mich.
Michael Zeuger (M), LDA Company,
Pittsburgh
South Pacific Coast Region
Joseph Banayan (M), Associated
Consulting Engineers, Los
Angeles
Sam Herchak, Mesa, Ariz.
Jeff Johnson, EnerTech Systems,
Anaheim
Patrick Kays, Royal Electric
Company, Sacramento
Ross Krayer (M), Holmes & Narver,
Albuquerque
Darrin Weedon, Birchwood Lighting,
Santa Ana, Calif.
Sherry Weller (M), Larkspur, Calif.
Midwest Region
Kristian Allcroft, Holophane Lighting
Co., Chicago
Jerrold Antoon, Fox Valley Technical,
Appleton, Wis.
Richard J. Bulvan (M), Focal Point
LLC, Worth, Ill
Erin Davis, Focal Point LLC, Chicago
Frederick Kern, Focal Point LLC,
Chicago
Daniel Lee, Advance Transformer
Company, Rosemont, Ill.
Otto Letamendi, Ciorba Group,
Chicago
Daniel J. McCarthy (M), MBW Electrical
Solutions, Chesterfield, Mo.
Patricia Morin (M), MidAmerican
Services, Urbandale, Iowa
David Swartz, David Swartz PE
Consulting Engineers, Chicago
Southeastern Region
Timothy Ivanecky, Cooper Lighting,
Peachtree City, Ga.
Don Jordan, Musco Lighting,
Gainesville, Fla.
Robert Petrivelli, Booth-Hinson
Noack, Inc., Peachtree City, Ga.
Dr. Jeffrey Wayne Place, North
Carolina State University, Raleigh
Howard Rivers (M), Gainesville
Regional Utilities, Gainesville, Fla.
Mathew Smith, Little & Associates
Architects, Charlotte, N.C.
Randy Smith, Factory Sales Agency,
Nashville
The University of Alabama
Shelby Allen, Marianne Alverson,
Kristi Arians, Meghan Bazemore,
Morgan Blankenship, Jennifer
Burrell, Catherine Cooper, Jackie
Hahn, Michelle Holden, Shannon
James, Jodi Kennedy, Ashleigh Ann
Ledbetter, Donna Martin, Jessica
Massey, Mallory S. Mathison,
Breck Nicholas, Beth Philyaw, Erin
T. Sanders, Sarah Singleton,
Amanda K. Smith, Lynlee Stewart,
Devin Varden, Aycan Yeniley
Northeastern Region
Michael Petry, McCumsey-Petry
(Rcc Design), Fairfield, N.J.
William T. Ryan (M), Philips Lighting
Company, Somerset, N.J.
John Verde, Hylan Electrical
Contracting, Staten Island, N.Y.
Abhay Wadhwa, Domingo Gonzalez
Associates, New York
Dartmouth College
Mary Elisabeth Jones
Suffolk University
Christine Shanahan
Northwest Region
Eli Albaugh, Philips Lighting
Company, Vancouver, Wash.
Brent Aleksich, Coffman Engineers,
Anchorage, Alaska
Corbie Ray Black, Delta, B.C.,
Canada
Evan Roberts, USKH, Inc.,
Fairbanks, Alaska
Southwestern Region
Derry Berrigan, DHTC, Inc.,
Rogers, Ark.
Ronnie Fender, MKK Consulting
Engineers, Grand Junction, Colo.
Tom Halverson, Humphrey &
Associates, Dallas
James Maddux, Vari-Lite, Inc., Dallas
Clara Muller, RNL Design, Denver
Stephen Reeves, Philips Lighting
Company, Carrollton, Texas
John York (M), H & H Industries
Inc., Irving, Texas
Texas Christian University
Abbie Cornell
University of Colorado
Kimberly Alston
Foreign
Mi-hyang Lee, Korean Standards
Association, Seoul, South Korea
Shu Sang Lee (M), Vision Lab,
Hong Kong
Kousaku Matsumoto (M), Style
Matec Ltd., Japan
Glenn Sweitzer, Hong Kong Polytechnic
University, Hong Kong
www.iesna.org
LD+A/April 2001 31

2000
INTERNATIONAL ILLUMINATION DESIGN AWARDS
FROM COKING PLANT TO
COLORFUL SCULPTURE
Two design firms combined efforts for the lighting design of the
Zollverein Coking Plant, in Germany. According to
Jonathan Speirs, the
new building is a
monumental industrial
sculpture, illuminated
in different colors to
indicate the juxtaposition
of nature/power/process.
The project received
a Paul Waturbury Award
of Excellence for
Outdoor Lighting Design.
(right) Concepts for Zollverein Kokerei
developed around the juxtaposition of
nature/power/process. A palette of
red and blue was chosen: Blue to light the
people viewing area, encouraging visitors to
look at the facility in a different manner;
and red to illuminate the facility itself,
evoking images of rust, fire and heat.
(opposite, top) The reflecting pool (measuring
3/4 of a mile) was an integral part of the concept.
The funds were only made available with one
month to go before completion.
(opposite, bottom) The plain coal bunkers
were softly washed with the
red filtered metal halide luminaires.
®
The Zollverein Kokerei (Zollverein
Coking Plant) was not a typical
exterior project; in fact, it was
deemed by the client to be part of its Arts
program for the regeneration of an industrial
heartland of Germany. Rather than
purely describing the solution, the development
of the design ideas may be as
interesting to explain as the philosophy
and approach of our group.
In March 1998, the Lighting Architects
Group — Jonathan Speirs and Associates
(Edinburgh) and Speirs and Major
(London) received an invitation from IBA
Emsher Park to enter a competition for
the lighting design of the Zollverein
Kokerei in Essen, Germany.
The German Government-funded IBA
(Internationale Bau-Ausstellung) exists to
regenerate areas of Germany that have
fallen on hard times. IBA Emsher Park
differs considerably from the others in that it has a 10-year life span. The scheme was developed as a test case for new thinking
in energy conservation and land regeneration. The Ruhr valley has been in decline since the 1960s, and lately has been plagued
by both ecological, as well as social problems. IBA Emsher Park has been attempting to tackle both of these issues.
We visited the site and were guided around the project area by IBA. Unused since 1992, this amazing edifice once employed
2,000 people. It was more like an efficiently designed machine rather than a building or structure. The almost poetic “production
line” was clearly expressed: from transportation of the coal to the facility, its local distribution and storage, and its
insertion into the coking ovens, to its removal as coke and then its ultimate onward distribution to nearby steel plants. This
became the inspiration for the lighting concept.
There was not one piece of decorative detail anywhere in the project. Every element of the building has a purpose and function
and in this case it is very apt to quote a famous German émigré architect: “form follows function.”
The scale of the project — it takes about 40 minutes to walk around the structure — was an important aspect that drove
some of the design decision-making. This was in addition to the almost reverential status the client placed on the tall chimneys.
In the Ruhr valley, they have no hills or mountains, so such a vertical statement was deemed to be an important landmark
for the surrounding area
The concepts for the project were brainstormed in both of the Lighting Architects Group studios with the philosophical
“theme” of Nature/Power/Process providing the backbone of the ideas. Each studio generated sketches, details and Photoshop
images, and the entire proposal manifested
itself in a digital video presentation that included
a clear explanation of the philosophy, supported
by animation sequences.
Our intent was to create an image that was no
longer an industrial landscape, but rather, a
sculptural icon describing the form, materiality,
scale and revised perception of a 20th Century
monument regenerated for a different purpose:
that of a local landmark. To achieve this, a
monochromatic wash of red was selected to
enhance the corrosion of the steel superstructure
of the ovens.
After being awarded the project, a series of
meetings and workshops were then organized
in the ensuing weeks, as the switch-on had to
coincide with a major temporary exhibition
that was being planned for the facility.
Then began the hard part: to transfer the
ideas into reality. There were several site tests
before the installation designs were formal-
PHOTOS: COLIN BALL & WERNER J. HANNAPEL
32 LD+A/April 2001 www.iesna.org
www.iesna.org
LD+A/April 2001 33

(top) The glazed windows to the gas burners were illuminated with
red filtered fluorescent tubes, with a slightly different hue to the ovens.
(bottom) The ovens were asymmetrically graced with
color to generate shadow texture and interest.
ized. Locally the design was engineered and overseen by
START Media.
One powerful idea presented at the competition stage was for
an 800 m long by 30 m wide reflecting pool. Between the
entrance road and the structure, the reflecting pool mirrors the
facades both by day and by night, creating ripple patterns of
white light across the battery of ovens.
The pool is a simple device of aluminium sheet, fully tanked with black bitumen, and responds as a mirror to reflect the building
mass. When natural air movement contacts the surface, ripples effectively animate the main elevation.
Running parallel to the main façade is a road that separates the black
side (coke) of the facility and the white side (chemical). It was decided
that this road and linear viewing point presented a powerful opportunity
to assist the public to look at the Kokerei differently, by heightening
their visual senses to enjoy the appearance and experience of the
Zollverein Kokerei more.
This was achieved by illuminating the road with blue metal halide
luminaires. These were located asymmetrically on the opposite side of
the road to the facility. This meant that, when looking at the 800 m long
row of ovens, the luminaires were behind the viewer, yet both the area
and the viewer were lighted in blue.
The main coking ovens themselves were cross lighted by asymmetric
metal halide floodlights with a red glass filter to give shadow and texture.
Different filters were tested to find a color that was not too orange, but
showed the graininess and patina of the metal doors.
The gas burners below the ovens are located in an area with a row of
glazed windows. These were backlighted, again with red, but this time
fluorescent luminaires were used. The chosen shade of red was a little
lighter than that used on the ovens.
The “landmark” chimneys were lighted in two ways. First, they were
washed with metal halide luminaires with red glass filters and linear
spreader lenses. Second, at the crown of the chimney a net of red LED
luminaires were installed. A total of 150 luminaires were used on each chimney. These randomly animate to surprise the passerby
and intended to be the distant reference view. They are, in fact, visible from 15 miles away, much to the delight of the client.
In May 1999, the illumination of the Kokerei was formally switched on to coincide with the opening of the Sun, Moon and
Stars exhibition that was created within the heart of the coking plant. The public response to the project has been very positive
and the client is delighted with the results. The 800 LEDs (each one using only 2.5 W of power) located at the crowns of the
chimneys can be seen from more than 15 miles away, fulfilling the landmark criteria of the initial proposed brief.
The creative design process at the competition stage was a great stimulus for the entire design studio that contributed excellent
ideas. The rigorous holding to those original ideas through the design implementation and construction phases further added to
the clarity of the final image and offer proof of the strength in their simplicity
The designers: Jonathan Speirs BSc (Hons); Dip. Arch; RIBA; ARIAS; IALD; ELDA; FRSA trained as an architect and
has more than 17 years experience as an independent lighting consultant. He co-founded Lighting Design Partnership
(LDP) in 1984. In June 1992, he left LDP to form Jonathan Speirs and Associates in Edinburgh. In January 1993, he
opened a London office in association with Mark Major as the London-based office of the Lighting Architects Group.
He has been awarded a number of lighting awards, including a Guth Award and three Paul Waterbury Awards in 2000.
Mark Major BA (Hons); Dip.Arch; RIBA; IALD; ELDA; FRSA trained and practiced as an architect prior to choosing
to focus on the special relationship between light and architecture. He worked with Lighting Design Partnership
(LDP) between 1984 and 1988 where he worked closely with Jonathan Speirs. He formed his own architecture and
lighting practice, MRA, in 1989 with German Architect Knud Rossen. In 1993 MRA formed an association with Jonathan Speirs and Associates in Edinburgh. He
has received a number of awards including IALD, IIDA and UK National Lighting Awards.
34 LD+A/April 2001 www.iesna.org

INTERNATIONAL ILLUMINATION DESIGN AWARDS
WINGING IT
The Midwest Research Institute comprises two wings,
each markedly different in appearance. Mark Hershman fills us in
on the thought process behind the design of each wing, and the
respective challenges the design team faced. In the process, they
earned an IIDA Paul Waterbury Award of Excellence.
PHOTOS: MICHAEL SPILLERS
2000
®
While the vestibule at the Midwest Research Institute physically links the two
buildings, the perforated wall acts as the representational link. High-output 3500K
fluorescent signlighter uplights within the wall seem to change the daytime
metal structure, to an apparent glass block at night. A series of 26 W,
triple-tube compact fluorescent downlights within the metal wall soffit and
20 W low-voltage recessed steplights guide vistors to the entry.
In an effort to forge Kansas City’s dream of being the focal
point of the world’s life science research, the Midwest
Research Institute (MRI) looked to lead the course with a
fresh architectural look. As a fixture in the Kansas City landscape
since the mid-1950s, the world renowned research facility
has occupied prime real estate north of the popular retail
mecca, the Country Club Plaza. Although situated not more
than 90 ft from the busy boulevard, the horizontal expanse of
the complex, in conjunction with the dated architecture gave
the facility undeserved anonymity.
If MRI was to be the city’s launching pad for future research
growth, it had to present itself in a more flattering light, figuratively
and literally. Within the research community, MRI’s
advances in agent studies of the “Gulf War Syndrome” and
development of renewable energy sources were widely recognized.
Despite its accomplishments, the MRI had not distinguished
itself within the local architectural scene.
Enter Rafael Architects, Inc. (RAI). As a local architectural
firm known for more progressive designs, the firm was charged
with crafting an image to define the MRI as a leader in technology
and research. The necessity to merge the past with the
future led RAI to the doorstep of Yarnell Associates Lighting
Design. Having collaborated on previous projects, the combined
design team could present a comprehensive concept of
integrated architecture and lighting, where the individual
strengths of different areas of design reinforce one another.
In 1972, the Midwest Research Institute expanded from its
one lone building, originally constructed in 1955, to include a
similar one-and-a-half story Spencer building to complement
the existing Kimball wing. To reduce the daytime visual
breadth, RAI designed a vertically oriented central glass box
entry. The literal split between the two structures led to other
refinements that would further differentiate the two buildings,
despite their close proximity. To the Spencer side, or left side of
the entry, the architects developed a minimalist landscape
approach, complete with a formal display of trees and rock gardens
leading to the vestibule.
It was the renovation to the Kimball wing that piqued the
interest of Yarnell Associates. Across the street and on axis, rises
the historical Nelson-Atkins Museum of Art, a majestic neoclassical
edifice erected in 1933. The lighting design team wanted
to mimic the classic philosophy of the columnar museum,
but wanted to apply it to a modern structure. New vertical
metal fins designed for the Kimball building are strongly delin-
36 LD+A/April 2001 www.iesna.org
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LD+A/April 2001 37

eated by custom Q71MR16/C/NSP15 uplight fixtures with
remote transformers. The minimal 3 in. diameter by 5 in. high
luminaires blend into the existing concrete sill to which they
are mounted. The constant rhythm of the uplights draws upon
the museum’s historical relevance, while the fins disrupt the
monotonous façade and mirror the classical columns on the
Nelson-Atkins Museum.
Feeding off the architects’ desire to create a low level concrete
berm wall in front of the Kimball wing, the method for generating
a secondary lighting effect was born. Seeing a need to
apply a second layer of light to contrast the vertical emphasis,
the low wall, approximately 20 ft in front of the façade, allowed
a series of NEMA 4 x 3, 250 W ED18 floodlights to be hidden
from vehicular view. In order to ensure this second layer would
also act as a backdrop and a complement to the uplights, each
luminaire was fitted with glass color filters to match Rosco
#358-Rose Indigo gels. The low five percent transmission provides
a subtle pale violet light that envelops the entire building
and underscores the vertical white accents. The blending of the
warm and cool light textures creates a subdued drama, well
suited to the close proximity of the major boulevard. With
street access so close, a lighting design predicated on overly
bright effects would have distracted vehicular traffic.
As a stark contrast to the Kimball building, the Spencer
design was an intentional understatement at night. A driveway,
parking lot and rigid formation of trees in front of the building
beckoned a different lighting approach. Instead of illuminating
the façade, the intent was to uplight the trees in a dramatic
5200K, 175 W metal halide source, to emphasize the greenery
and bring the perceived line of light closer to the street.
As a means to connect the parking lot to the entry, the architects
created rock garden pods. Within each island of massive
stones, mini-bollards with 60 W xenon lamps and four optical
ports were precisely located within the center of the rock cluster
to illuminate the sides of the massive stones and produce
interesting patterns on the ground.
Contemporary parking lot poles specified to blend in with a
predominant metal skin completed the Spencer side design.
The polarity in philosophies between the two facades was not
only to visually shorten the interlocking buildings, but to also
give each wing its own identity. Whereas the Kimball building
was treated very formally, the Spencer side was envisioned as
more casual.
Acting as a mediator between the two structures, the central
glass cube gives visitors the only glimpse into the newly
constructed lobby. Originally designed as a glowing volume,
the vestibule combines CMH70/U/PAR30L/40 recessed
downlights clustered in a tight 4 ft grid in the ceiling with
incandescent based uplights. 75PAR30/H/NFL direct burials
with internal glare control are situated in the corners of the
vestibule to allow visitors an uninterrupted view into the
lobby. Highly reflective and transparent surfaces assist in the
projected image of a luminous box.
While many projects have distinct boundaries between interior
and exterior spaces, the MRI’s transparent vestibule blurs
this distinction. In this case, the lobby’s lighting makes a direct
(opposite) With street access so close, the
exterior lighting needed to be unique. Overly
bright lighting would distract vehicular traffic,
so subtle, layered lighting effects were used.
With a neoclassical museum on axis across the
street, the right façade was treated in a gentle
rose purple wash. Wall-mounted 250 W
metal halide lamps in NEMA 3 x 4 floodlights
with custom-color filters generated the base layer.
With the left façade on axis to a park setting, the
approach focused on landscape illumination.
To enhance the vibrancy of foliage,
5000K metal halide uplights were used.
(right) With CMH 70 PAR 30 metal halide
downlights, and 75 PAR 30 uplights, the vestibule
glows like a glass box. Cold-cathode lighting
within the lobby contributes to a mysterious
and compelling entranceway.
contribution to the exterior image and provides visual depth to
a façade physically located close to the street. A band of
Horizon Blue cold cathode is evident from the street, drawing
the eye deep into the reception space. The cold cathode cove
also lies directly above slanted, frosted glass panels implemented
to visually separate the lobby from the corridor beyond.
A series of 32 W T8 85 CRI fluorescent asymmetric throw
signlighters nestled into a metal trough at the base of the panels
gently backlight the frosted glass. The partition wall and
ceiling detail not only blends glass and drywall surfaces, but the
backlighted wall defines the lobby boundary from the corridor
while creating a theatrical backdrop for the reception desk. A
further refinement of low voltage festoon lamps built into the
reception desk face parallels the definitive horizontal cold cathode
effect. Focusing on material enhancement, the lobby relies
upon a mixture of sources to best represent interior surfaces.
While 26 W triple tube compact fluorescent downlights provide
ambient illumination, Q50MR16/C/NFL recessed
adjustable accent lights brighten the glass reception desk. An
abundance of glass vertical surfaces and uplighted ceilings
allows this space to read as a central entrance to the exterior.
As a centerpiece of the renovation, a curved metal scrim wall,
measuring more than 100 ft long and 20 ft high, acts as a literal
gateway to the new vestibule and lobby. As a figurative bridge
to the future, the semi-transparent perforated metal scrim
changes appearance from daytime to nighttime. As viewed during
the day, the 3 ft thick double layer wall appears as a plain,
flat metal surface. At night, with a series of F48T12/SPX35/HO
asymmetric throw fluorescent signlighters mounted within the
interior shell, the wall changes to a luminous glass block surface;
full of depth and texture.
Depending on the angle of a visitor’s approach to the wall,
the luminous metal takes on added properties of light as
applied by the rose-indigo floodlights or the parking lot lights
adjacent to the wall. It is the technique of internally illuminating
the double layer wall that provides a direct connection to
the luminous vestibule and lobby.
To complicate the mounting of the fluorescent signlighters, a
portion of the wall stands within a pool of water, fed by a
trough originating at the glass vestibule. A secondary visual
connecting device is generated by edge-lighted and point
source fiber optics. A 150 W metal halide fiber optic illuminator
remoted in the lobby feeds the 0.5 in. diameter fiber optic
run lining the water trough to the pool below. Point source fiber
optics recessed into the outside of the water trough illuminate
a small rock garden at the entry. Additional point sources within
the pool reflect constantly changing color on the outside of
the metal wall. Opposite the water trough, low voltage stainless
steel recessed steplights within a massive granite block lead visitors
to the luminous vestibule.
The asymmetrical lighting balance between the use of strong
architectural accents in the Kimball wing, and the use of less
formal landscape lighting in the Spencer wing is held together
by the prominence of the scrim wall and the vestibule beyond.
The intentional visual competition (or juxtaposition) between
buildings helps to draw one’s attention to the center of the complex,
where the chaos generated by two distinct lighting styles
flows into the order of the luminous glass box entry. Each piece
of the lighting puzzle becomes a visual connector to the next,
where individual components strengthen the overall effect.
Together, all the concepts — landscape lighting, backlighting,
accent lighting and color — form a cohesive design with the
architecture, both old and new.
Only by experiencing the entire complex will a visitor understand
the complexity of visual queues assembled for the MRI.
For its work, Yarnell Associates received a 2000 IIDA Paul
Waterbury Award of Excellence for Outdoor Lighting Design.
The designers: Mark Hershman
is a graduate of the University of
Kansas, with degrees in Architectural
Engineering and Architecture.
Prior to joining Yarnell
Associates, he was employed
with Randy Burkett Lighting
Design, in St. Louis. He has been
an IESNA member since 1992.
Bruce Yarnell is an alumnus of Kansas State University, where he received a
Bachelor of Architecture degree. In 1981, he formed his own architectural lighting
firm, Yarnell Associates, in Shanee, Kan. The company specializes in
uniquely designed interior and exterior spaces, ranging from museums, hotels,
libraries, office complexes and retail facilities. He has been an IESNA member
for 20 years.
38 LD+A/April 2001 www.iesna.org
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LD+A/April 2001 39

INTERNATIONAL ILLUMINATION DESIGN AWARDS
The project containing the Hollywood
Tower is known as “Heron City.” This, the
first of many projects under that brand
name, is located on the northeast edge of Madrid
in a booming town known as Las Rozas. The
demographics of this area are generally that of a
youth-oriented market: young families and a relative
upscale spending capacity. Madrid and most
of Spain are experiencing an un-paralleled
growth, both in the economy and the population.
The process for developing a lighting and
audio scheme for this project began almost two
years ago in the architectural offices of Studio E
in Orlando. There, the initial graphics were
shown to the design team, Illuminating Concepts
(IC). The designer in charge, Chris Miles, delivered
the express desires of the owner. At that
time, the scope of the project for IC was to develop
an all-encompassing lighting and audio system
that would bathe the consumers in a variety
of colored, changing light and immerse them in
what is generally considered “surround sound.”
The “mall” as Americans would call it would
not be designed as a mall. Instead it was to be a
400,000 sq ft, open-air “entertainment center.”
The English call this a “leisure center.” The first
challenge as a design team was to get on board
with British linguistics and syntax; a means of
communication I have grown to adopt and even
prefer. My staff has even taken to quoting
Shakespeare.
The true challenge of developing a lighting
scheme was that we really had no existing model
to extract principles from. The architectural
treatment takes its cue from the new Universal
Islands of Adventure (UIOA) and City Walk in
Orlando, a project that IC had the privilege of
working on. The best description I can give is
that of industrial new age high-tech with a sprinkling
of mysticism and humor. However, UIOA
did not meet the level that the client wanted to
achieve. Additionally, the architectural scheme
had already been set and the project had started
construction. This fact also created a fundamental
challenge: where to suitably place the lighting
and audio systems.
IC offered a number of solutions for the architectural
challenges of concealing the entertainment
systems. Most of them had to do with carving
out positions in the architectural facades so as
to only make the nose of the lighting instruments
2000 (below) Light sources for the Hollywood Tower are mounted discreetly
within the tower, and allow easy access via internal catwalks and ladders.
(right) The 90 ft tall tower is illuminated with intelligent lights, PAR luminaries
and fiber optics, all synchronized to the music and the hourly water shows
to provide a complete immersion experience. Dichroic filters were specified
in the fountain to provide intense color saturation to the water.
Ron Harwood, president of
Illuminating Concepts, discusses his
firm’s role in designing the Hollywood
Tower, a 90 ft tower that performs an
operator-free synchronized sound and
light show in Heron City, an
entertainment center in Las Rozas,
Spain. This project was awarded a
Paul Waterbury Award for Outdoor
Lighting Design Special Citation.
LAS ROZAS
LIGHT SHOW
PHOTOS: RONALD P. HARWOOD
40 LD+A/April 2001 www.iesna.org
visible. We offered a scheme that bathed the audience and pedestrians
in static color changing High End Systems EC-1s and
ES-1s. The presentation, held in the owner’s offices, included a
description of lighting the one- and two-story facades, as well as
the brick and tile pavers of the streets and plazas. We explained
how the systems would be controlled to run automatically.
At the end of the presentation, Gerald Ronson, the owner
and visionary of this endeavor looked up and simply said,
“Where’s the show?” Somewhat dumfounded, I respectfully
asked him to explain his idea of “show,” as the presented
scheme far exceeded any permanent lighting scheme in retail.
His reply, as I have now grown to expect, was brief and to the
point. He wanted a permanent, hands-free, sound and light
show that entertained the customers every half-hour — not a
few gobos spinning on the floor, and not just changing color on
the buildings. Ronson wanted fully synchronized sound and
light shows that played in the entire center.
If you “have a think” about it (in British vernacular), most
sound and light shows are equated to stage presentations that
obviously have featured performers. Who or what would be
our central focus? How would one conceal the instruments
required to produce such a show and finally, what kind of show
control devices could one use to guarantee a relatively failsafe,
hands-free system?
First, we had to get the architect and owner to agree to generally
exposed instruments. Most of the moving lights would
need waterproof enclosures. The designers at IC proposed a
“speedrail” that sits atop, and longitudinally oriented to, the
building facades. We ultimately came to an agreement that the
“sense of show” about to happen at dark would be a branded
foretelling of the entertainment to come, instead of relatively
ugly and inactive theater luminaires doing nothing. We also
came to learn that the sight distances of the gear on the rooftops
came in scale with the center and looked quite good, as one
normally saw very little of the fixture housings and bodies.
We then recognized the two “icon” towers at each end of the
scheme as our central focus “performers.” The design of the
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center is simply two plazas — one named Hollywood and one
named Fiesta — measuring nearly 150 ft in diameter, connected
with a curved passage between them. The curved passage,
several hundred feet long was named “the Paseo,” and would
be similar to a typical European “high street” with restaurants,
bars and trendy shopping. This area would have the least
amount of lighting animation and sound FX as it tended to the
relaxed component of the entertainment philosophy.
The Fiesta Plaza, not shown in the pictorial, was intended
to be the more active of the two plazas. It actually has two
towers. The first tower is called the DJ tower and — as the
name implies — has a central DJ control system, which, by
touch-screen interface, allows the user to interrupt the normal
sound and light shows and take over manual operation
of the moving lights and audio system. The second tower is
90 ft high and designed in a perforated metal spiral or helix,
which arrives at the peak to terminate in a mesh, inverted
cone. As this is the most active space, IC affixed a dozen flash
units and a number of vertically oriented EC-1s to wash animated
light up the helix.
The Hollywood Tower is located adjacent to an AMC 24
Cinema on one side and mostly fast food establishments on the
other. It also measures 90 ft tall and has a diameter of nearly 30
ft. Given that it was designed and engineered prior to IC’s directive
to produce an animated show design, the challenge to
make this tower a show feature was the greatest that IC’s
designers faced.
The tower has a perforated metal cladding for its exterior and
an “inner egg” of metal framework and clear plastic panels. As
an architectural lighting opportunity, we looked at creating several
illusions of space and volume.
First, the most obvious design opportunity was to separate
the inner egg and outer surface by lighting inside the outer skin
with white PAR 64s pointing up and down, attached to a new
speedrail that needed to be welded to the inside of the previously
designed tubular structure. These would have chase
capability, along with a variety of other effects that could be
LD+A/April 2001 41

(left, top) Illuminated fruit graphics, architectural and service lighting
are controlled by the central show control to monitor timing for energy
management. (left, bottom) The goal for this project was to work within
the parameters of large-scaled architectural features and themes to
produce a space that conveys the excitement, glamour and intense
theatrical experience of a Hollywood film opening. This view, from the
corridor linking the two major plazas together, expresses the scale of the
project. (right) Intelligent lights and dimmed PARS timed to music
allow chase effects to animate the tower for hourly light shows,
creating a beacon that can be seen several miles away.
generated during programming. Second, we washed the outer
skin of the inner egg to make it glow within the structure in a
pearlescent fashion.
Third, and perhaps most interesting, we made the inner egg
a “solid” element by filling it with fog and mounting EC-1 color
wash units within. Fourth, we needed this tower as a lighting
position to create an illuminated and sometimes animated
street scene. For that purpose, we mounted four, weatherproofenclosed,
High End Systems Cyberlights at the very top of the
Tower, which have the capability of hitting many points in the
plaza. Finally, from other positions in the plaza, IC used High
End Systems Studio Spots in Ecodomes to illuminate the front
facing façade of the Tower.
Then came the animated fountain in the heart of the plaza.
As part of IC’s show design goals, we recommended to the
owner that he consider an animated and performing water display
with the ability to be programmed to sound. It comes in a
package that includes a dichroic lighting system.
We offered to take the show design concept to an even higher
level by taking the “machine code” of the water feature control
system and synchronizing it to our lighting programming.
The result, we predicted, would be an “immersion experience”
unlike that achieved outside of the theme park industry.
Fortunately for us, a new team member appeared from
Heron in the person of Nicole Ronson. Ronson, an experienced
media producer and founder of Nicron Productions in
the U.K. had recently come on board as the entertainment
director for Heron. If there was any doubt that this new concept
would fail to produce an even more enhanced experience,
she calmed any fears.
Once all of the concepts were approved, the IC team, led by
Ronson, embarked on a music search that compiled more than
500 CD’s of music that ranged in genre from World to Motown.
Music was the most important factor in the overall lighting
design; as this was to be a light show first and an “enhanced
ambient scheme” second. I applaud my able son Benjamin for
the initial research, sound editing, sound manipulation and
compilation. His knowledge of world music and popular music
set us on a course that proved quite successful.
Adding music concepts at a furious pace were Michael
Shulman and Nicole Ronson. Once the team had narrowed the
selections to around 100, we finalized our “light shots,” overall
lighting placement and mounting details.
All the while, Kenneth Klemmer, the IC design director, was
designing and supervising the balance of the architectural lighting
scheme and coordinating the lighting of the owner’s megagraphics
package. Heron’s David Fraser in conjunction with
Lara Farnum and Mark Goldstein of Fitch led the mega-graphics
design team. Scott Stephens, Michael Shulman and Larry
Shirmer of IC were simultaneously developing one of the most
sophisticated show control packages ever to be built.
The system begins with the ability to completely monitor the
controls and functions as well as the ability to upload new program
schedules. It is almost entirely redundant with failsafe
back-ups for audio and lighting. The system is the “show start”
and “show off” for the water systems as well. This became a
requirement in order to synchronize sound and light shows
with sound light and water shows, as both are distinct and play
at alternate times. Manual overrides are accomplished by touch
screen with password protection.
Because of the vast distances signals had to travel, and the
need for two-way communication between the lighting, audio
and water systems, IC used a Strand fiber optic network with
nodes in each of the towers. In all, four universes of DMX are
almost entirely filled. The main lighting controller is a High
End Systems Whole Hog II rack mount that contains all of the
lighting programs. It responds to a variety of signal protocols
required to enable monitoring and “if then” functions which
are polling constantly throughout the network. Nothing about
any of the system integration and automation was “off the
shelf;” all of the interaction between devices was a matter of
code programming.
The “enhanced ambient” design is, in a sense, what remains
between water shows and light shows. Not much time exists between
the “big shows,” and it is important not to let the audience
cool down inbetween. The team designed slow moving color
washes and changing gobos to entertain children who bore easily.
Star gobos that move slowly around the plazas have a mystical
attraction for the kids, who chase after them endlessly.
Part of the enhanced ambient look of the space is to provide
good quality light and colored light for street performers, who
— from time to time — roam the plazas, gathering an audience,
returning to a space that is lighted for their purpose.
Finally, the on-site show programming of the towers, and all
of the other special features, took place during the most desperately
cold and rainy days (and nights) of December through
March. The IC team, led by Michael Shulman, of Chas Herington
and Joe Allegro (lighting programming), Scott Stephens
(show control and network), Larry Shirmer (audio and show
control), Sheila Fitchett (special projects coordinator), Ken
Klemmer and John Bartley (focus and DMX) embarked on a
frozen journey of months of programming after dark.
The result was 15 sound and light shows, 25 water shows
supported by sound and light and a series of enhanced ambient
effects between them.
The final test of this exercise was the visitors. In a professionally
taken marketing poll, the consumers rated the shows the
number two reason for coming to the center. The number one
reason was to see a movie. Statistically speaking, this means perhaps
one million people would come just to see the shows.
The designers: Ron Harwood,
IES, founded Illuminating Concepts,
Ltd. (IC) in 1981. IC is an
international multi-disciplinary
firm that blends architectural and
theatrical lighting with acoustic
design, projections systems and
special FX of all forms. Harwood
has been active in producing theatrical and musical performances in folk
music and blues since 1963 and was nominated for a Grammy in 1982. He
has been an IESNA member for five years.
Michael Shulman is a lighting designer for Illuminating Concepts, Ltd. He has
a BFA in Theatrical Design and Minors in Art History & Business from
Marymount College, Manhattan. From road shows to television to Broadway
theatre, Shulman has experience in all areas of theatrical lighting and effects.
42 LD+A/April 2001 www.iesna.org
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2000
INTERNATIONAL ILLUMINATION DESIGN AWARDS
(top) This concept visual of the
Millennium Dome shows the internally lighted
300 ft high masts and glowing
perimeter plant cylinders.
(bottom) This view matches the
concept visual, with the internal white
uplighting used on grey days shown
“bleeding” through the fabric.
(opposite, top) A view of the completed
project, with the internal blue
uplighting intentionally “bleeding” through.
The lighting was designed and
installed in fewer than two years.
(opposite, bottom) The Meridian Line itself
was defined by a ground recessed
continuous row of red LEDs. Throughout the
entire site, by using low energy sources,
the energy consumption was only 0.057 W/sq ft.
The Millennium
Dome was one of the
icons celebrating the
media-hyped “end of
the millennium.”
Lighted by the firm of
Speirs and Major Ltd.,
the project was
awarded a
Paul Waterbury
Award of Excellence
for Outdoor
Lighting Design.
Mark Major
details the firm’s work.
®
MILLENNIUM
MASTERPIECE
The Millennium Dome Project was sponsored by two governments, but paid
for by proceeds from the National Lottery (a sort of voluntary tax). It was a
massive ‘expo’ erected in the East of London on a derelict gas works, and it
was intended to represent the expression of British Life at the end of the 20th
Century. It was all to be housed in the world’s largest single span tensile structure
designed by Richard Roger Partnership and the engineers Buro Happold.
The first image produced for the Millennium Dome project in September 1997 was
a drawing looking across the River Thames towards the site. The colored, pencil and
ink rendering showed the fabric of this enormous structure glowing with pastel purple-blue
light set against the Greenwich skyline. Punctuating the image were the
strongly uplighted yellow masts and the huge ‘plant cylinders’ lighted in fiery red.
The whole scene was softly reflected in the darkness of the river Thames.
Almost two-and-a-half years later, that impression of the Millennium Dome
became the “brand image” of the project, gracing every poster, television advertisement
and leaflet that promised “One Amazing Day.” Indeed, the illuminated form of
the Dome even found a way onto everything from t-shirts and notebooks to
McDonald’s tray covers!
For the design team, this was a lesson in how exterior lighting can go way beyond
its normal role.
Our approach to exterior lighting has always been to look at the “big scale.” Our
backgrounds in architecture provide us with a good grounding in urban design and
planning and the necessary confidence to grab a “city size” problem and deal with it.
44 LD+A/April 2001 www.iesna.org
Our philosophy is based on the principle that the external
environment is effectively a blank canvass after dark, and the
way we choose to light it will affect character, meaning and
interpretation. In turn, this will inform such factors as safety,
economic success, sustainability, etc.
When we were asked to illuminate the Millennium Dome,
we quickly prepared a “Lighting Masterplan.” This was done in
close collaboration with the architects and the show lighting
designer (Patrick Woodroffe). Our remit also included the
main architectural lighting to the interior. This meant all the
internal elements likely to affect the external image were also
within our brief.
The building itself (all 800,000 sq ft of it) sat centrally on the
site. To the west, the scheme included the entrance, ticket kiosks
and queuing zone. A network of large tensile canopies covered
this area linking facilities such as shops, restaurants, etc.
To the East was a 250 ft long bridge and pontoon for those
coming by river traffic. The VIP and service areas were to the
west.
The whole site was wrapped by a riverside walk. Artwork by
leading British artists such as Anthony Gormley, Anish Kapoor
and Richard Wilson were placed throughout the site.
The highlight, of course, was the Meridian Line itself. This
extended from the Royal Observatory at Greenwich over the
river and across one corner of the site. This is the line where
time begins and ends, and this theme underscored much of the
main concept for the whole architectural scheme.
Given the brief and the setting, the approach could be
therefore kept simple. It should also be said that the relatively
tight budget dictated that there was little room for extravagant
detailing.
The scheme
Given the client’s requirement for the building to function
safely, be easy to maintain, minimize energy use and provide
“fitness for purpose” at all times, it was agreed that the lighting
should be designed at a level one would generally expect to
www.iesna.org
find within a permanent building and landscape scheme. This
also supported the idea that the building and key structures
would remain as “legacy items” to be re-used after 2001.
While working with Patrick Woodroffe and the production
team, we came up with suggestions of how architectural lighting
could be used dynamically through interfacing the architectural
and show lighting control systems.
These elements were carefully selected for their effect when
viewed from a distance, especially from the neighbouring towers
of Canary Wharf, and from aircraft coming into Heathrow
and City Airport.
In designing the scheme, we went for a policy of providing
no amenity lighting, with the exception being along the
Riverside Walk. This path was lighted with 4 m high column
mounted lanterns using 70 W CDM lamps. These were selected
to assure continuity of detail with the neighbouring site
The concept was then to light all the architectural and landscape
elements and provide no other amenity lighting. This
achieved many goals.
First, it provided a site which was clearly legible at night,
thereby assisting with general orientation as well as creating the
image. Second, it provided a large amount of reflected light,
which created sufficient ambience to fulfil basic requirements
for visual acuity and safety. Third, by concentrating light mainly
on vertical objects rather than on the horizontal plane, it
helped define the visual boundaries.
The yellow masts were lighted using 250 W metal halide narrow
angle projectors set inside the structure. They were carefully
louvered to meet the approval of the Civil Aviation
Authority. At the base of each mast was a huge concrete block
anchoring the main structural cables. Bulkheads with red filters
using compact fluorescent lamps were fixed to these making a
deliberate reference back to the red LED aviation lights at the
top of the mast.
Knowing that the internal fabric of the dome would glow
from within meant that the decision to uplight the external
overhangs was made early. This was done with approximately.
LD+A/April 2001 45
PHOTOS: COLIN BALL/MANDY REYNOLDS/MORLEY VON STERNBERG

(top) The internally glowing entrance ticket pods
contrast with the metal halide canopy uplights.
(middle) The perimeter of the Dome is uplighted
from the ground externally, and from special
column-mounted brackets immediately inside.
(bottom) By illuminating given architectural features,
area floodlights were not used. The majority of lighting
was low level LED sources with perimeter
vertical surfaces defined.
300 adjustable direct burial uplighters, using 70 W
CDM-T lamps. These not only washed the fabric
above, but also highlighted the fine steel structure
supporting the translucent cladding. The larger
overhangs were illuminated using wide angle floodlights
employing 150 W CDM-TD lamps.
The 12 large plant cylinders were the “engine rooms” of the
scheme containing the ventilation, electrical switch gear, cisterns,
etc. The open framework of these massive pods was covered
in vertical louvers. It was decided to light these internally
with a bold, red light using 500 W tungsten-halogen floodlights
fitted with dichroic filters, which were specified to allow
for total flexibility of control. The floodlights were circuited by
level, and each was separately addressed by cylinder to allow
the show system to create chases and effects. The legs and mesh
covered maintenance stair were also lighted to help connect the
cylinders back to the ground and provide safe lighting in the
adjacent area.
It was decided that the canopies that traversed the site would
be uplighted. The larger ones were from asymmetric floodlights
using 70 W CDM-T lamps bracketed off the support columns.
The smaller canopies were lighted from the ground using 35 W
CDM direct burials.
The ticket kiosks were internally illuminated
using two colors of cold cathode: blue at the base
and white at the top. When the kiosk was in use,
both lamps would be on together with local task
lighting to the desk. When closed, only the blue
lamps would be on. Other merchandise kiosks were
simply lighted with a variety of tungsten-halogen
uplighting and spotlighting.
The main piazza was illuminated from the indirect
light reflected off the canopies surrounding it.
Across the area lay a grid of color change luminaires,
which also contained a xenon strobe allowing the
show designers to create different effects to be seen
from the air.
Various vertical landscape features bounded the
site. The Hanging Gardens, which surrounded a
large vent shaft from the underground system, was
clad in falling plants, which were backlighted with
linear fluorescent. The Living Wall, which formed
the western boundary to the site, was lighted using
a mix of low voltage tungsten-halogen and compact
fluorescent.
There were two pavilions on the site in the form
of The Rotunda, a venue, and the Greenwich
Pavilion, an exhibition and restaurant facility. Both
of these were large structures in their own right, but
in the interests of maintaining the hierarchy across
the site, all the external presence came from the
internal lighting glowing out.
The canting brow bridge and pontoon were the
major gateways from the river. The large, arched
steel structure was painted blue and so it was lighted
in a deep shade of that color to saturate it. The
canopy that then ran along its length was uplighted from the
ground from a specially designed color change luminaire,
which used a red, green and two blue dichroic filtered MR16s
to create different color mixes.
The architectural control system was employed to mix the
various channels of lighting, which were circuited in groups to
create a slowly rippling color change, which almost seemed to
move with the water. The pontoon itself employed white
canopy lighting to provide safe but discrete functional lighting
for disembarkation of the boats.
The final feature to be considered was the one that, in many
ways, was central to the story of the Millennium Dome: the
lighting of the Meridian Line. One of the reasons the
Greenwich peninsular was chosen as a site for the project was
its relation to Greenwich and the Meridian — the line that symbolizes
“where time begins.” This was formed with red LED
strip set flush into the ground and mirrored at the boundary to
create an infinite line.
The Presentation
Despite the fact that New Years Eve 2000 saw an incredible
celebration to mark the new Millennium, the project was
dogged throughout the year by negative publicity, management
scandals and other issues that diverted from the fact that more
than six million people enjoyed “One Amazing Day.”
For those that were there after dark, the exterior lighting
played a positive role in setting the scene for what one would
enjoy inside. For millions more who flew over, drove past or
even witnessed on television the splendor of the Millennium
Dome, by nightfall, the architectural lighting became one of the
positive stories of that year.
One year later, the Dome has fallen dark. Further political
scandal surrounds its future. The internal exhibition and show,
the internal lighting and other features have been ripped out.
Some, regardless of the colossal waste of resources it would represent,
have even called for the building to be ripped down.
Despite all this — Richard Rogers Partnership’s great building,
together with its architectural lighting scheme, at this time
remain intact — waiting to support new life for the building.
The designers: Jonathan Speirs
BSc (Hons); Dip. Arch; RIBA;
ARIAS; IALD; ELDA; FRSA
trained as an architect and has
more than 17 years experience as
an independent lighting consultant.
He co-founded Lighting
Design Partnership (LDP) in
1984. In June 1992, he left LDP to form Jonathan Speirs and Associates in
Edinburgh. In January 1993, he opened a London office in association with
Mark Major as the London-based office of the Lighting Architects Group. He
has been awarded a number of lighting awards, including a Guth Award and
three Paul Waterbury Awards in 2000.
Mark Major BA (Hons); Dip.Arch; RIBA; IALD; ELDA; FRSA trained and practiced
as an architect prior to choosing to focus on the special relationship
between light and architecture. He worked with Lighting Design Partnership
(LDP) between 1984 and 1988 where he worked closely with Jonathan Speirs.
He formed his own architecture and lighting practice, MRA, in 1989 with
German Architect Knud Rossen. In 1993 MRA formed an association with
Jonathan Speirs and Associates in Edinburgh. He has received a number of
awards including IALD, IIDA and UK National Lighting Awards.
46 LD+A/April 2001 www.iesna.org

REVOLUTIONIZING THE
REST STOP
“We wanted to enhance the image of the state of Ohio.”
— Enrico Zamporelli, executive director,
Ohio Turnpike Commission
“GSI Architects’ designs clearly incorporate the Ohio Turnpike
Commission’s ongoing goals and commitment to provide superior
service to turnpike travelers. These innovative travel centers are
a tangible symbol of that commitment.”
— Alan Plain, former executive director,
Ohio Turnpike Commission
(above) The sight of a rest stop can be a welcome one when driving
the nation’s major thoroughfares. In the case of the Ohio Turnpike,
the lighting design transformed the familiar setting into a more
innovative one, with emphasis on increasing patron comfort.
(opposite) In the service plaza buildings, two large circular rooms,
anchored by a service spine and major site axis, organize the building
layout. The service area and lobby houses restroom and business
facilities, a travel/gift shop, vending area, game room and telephones.
Since the 1950s,
service plazas have been
familiar and valuable
assets for travelers along
major U.S. highways.
For years, these rest stops
have maintained a
near-uniform appearance.
Geraldine Kiefer
describes the innovative
design style of the
newly remodeled
Ohio Turnpike
travel centers.
When the Ohio Turnpike was designed in the mid-
1950s, 16 service plazas were included. The service
plaza concept had originated earlier on the
Pennsylvania Turnpike, and consisted of gas pumps and auto
service facilities with an adjacent service building housing a
family-style restaurant, restrooms, a small sundries shop, maps,
and some travel information. Much like the gas stations and
motels ubiquitous in America after World War II, this restaurant
was a low, family-scaled structure with residential imagery
and materials-ranch styling, gabled roof, Pennsylvania limestone
facade, and white wood trim. The design intended to
offer the comforts of home for mobile families on the road.
Another model for the service plaza was America’s favorite
1950s restaurant, Howard Johnson’s. As noted by Phil
Patton, “In the 1950s, variety in food on the turnpike meant
28 flavors of ice cream to follow the wrinkled frankfurters in
paperboard trays.”
The Ohio Turnpike service plazas, like their Pennsylvania
ancestors, were designed in pairs, one servicing westbound traffic
and the other servicing vehicles traveling eastbound. Their
48 LD+A/April 2001 www.iesna.org
names reflect their location, with references to geographical,
natural, historical, botanical, and even ornithological features.
In 1994, the Ohio Turnpike Commission (OTC) embarked
on a long-range plan to improve and widen the roadway and all
turnpike facilities. This plan and the study it generated identified
the service plazas as antiquated and no longer serviceable.
The poor condition of the plazas was matched by their inability
to accommodate the increasing volume of vehicular traffic.
Moreover, the plazas were not providing the variety and technologies
of service required by the vast array of 21st century
travelers, including business people, travel groups, and truckers,
as well as families.
The cost of remodeling the old plazas versus constructing
new ones was comparable, due to the extent of site work
required with either option. After conducting a patron research
study, the OTC opted to build new structures and to strategize
their design for maximum functionality and flexibility, to last
another 40-plus years.
Because of their proven success in designing facilities
for business, commerce and technology, as well
as in multi-use site planning, GSI Architects, Inc.
was selected as designers of the Ohio Turnpike travel
centers.
The program was a complete metamorphosis of
the service plaza into a state-of-the-art travel center,
with services and amenities geared towards seasonally-fluctuating
volume, need, flexibility and patron
choice. The new concept of “travel center” was not
just a rest stop, but a functionally targeted destination
spot with services normally expected from a
regional shopping mall or airport.
The patron survey conducted by the OTC, as well
as the Commission’s facility study, resulted in a program
that included the following: varied food service
operations, operating much like a shopping mall
food court with common seating; a generously sized,
informative lobby; larger, well-marked restroom
facilities and a family restroom; a business center
with fax, copy machine, and ATM; telephone stations;
a vending machine and game area; a travel
shop and flagship gift shop; and a separate area for
truckers including a “living room” with TV, laundry
room and showers.
Visitor services included continually updated
lodging availability, a meal or snack from a variety
of vendors, including fast-food and sit-down-style
establishments; state-of-the-art, pristine restrooms,
and amenities designed for the busy person
on the go.
The complex was designed as a “transportation node” — a
hub including parking, fueling, vehicular service and traveler
services.
Dynamic, directional look
Sleek and horizontal, the travel centers were inspired by the
Wrightian Prairie Style, present in northern Ohio in a number
of houses designed by Frank Lloyd Wright. (One of these houses
is in Oberlin, in the immediate vicinity of the turnpike.)
www.iesna.org
“The buildings have a strong sense of eaves,” says Celso
Gilberti, principal, GSI Architects, Inc. GSI’s prairie style is also
modeled after its contemporary equivalents: “the better shopping
airports” of the East and Midwest. The centers also possess
a look of sleek elegance, which is given visibility in form
and detail in the columns of the food court. Faced inside and
outside with bricks of a similar pattern and hue, the columns
appear to glide effortlessly through the perimeter windows as
they “clock” the volume’s circumference.
Vertical elements give the travel centers a distinctive identity
from the road. Each travel center is “announced” by a 75 ft tall
vertical tower at its outermost extension. These “Portals of
Ohio” provide the requisite visual clues for motorists, functioning
in the same way as the high hotel, fuel and food service
signs adjacent to interstates.
Corresponding features and details reinforce the travel center
stop as an experience. These include the smaller, 35 ft towers
at the patron parking entrance of the center; an outdoor
trellis which can accommodate a farmer’s market, small vendor
kiosks, and artist/craftsman demonstrations, promoting “see
Ohio” events; and the food court itself, where floodlighting and
accent lighting transform it into a glowing orb by night.
Strong Geometry
Two large circular “rooms,” anchored by a service spine and
major site axis, organize the building program. The first room
is the central building feature, encompassing a light-filled,
LD+A/April 2001 49

Minimum architectural lighting
was required outside, given
the nature of the clerestory
windows and punched openings,
which give the building a
surprisingly transparent
appearance at night. Lighting
bollards by Kim were used
for additional pedestrian
lighting between the
building and auto parking.
glowing food court with space for five food vendors and an
independent restaurant. It is roofed with a shallow copper
dome spanning a diameter of 80 ft. The space accommodates
feature and seasonal displays at its center, as well as generously
spaced seating with tables of varying configurations. As one
moves from the center to the periphery of the food court, partition
“arcs” define an inner circle and set off four smaller dining
areas, each marked by dual light towers.
The second room, linked to the food court by a vestibule, is
the service area and lobby. This space houses restroom and
business facilities, a kiosk-style travel/gift shop, vending area,
game room and telephones, and links to the separate trucker
area. The “destination wall,” a major design element and the
arc of a huge circle, can accommodate seasonal and regional
displays. At the convergence of the visual axes established by
the four lobby entrances (the two “front doors,” the trucker
entrance and the food court vestibule) is the information
booth. Its curved, stepped countertop provides ample space for
opening and marking maps or browsing through brochures.
Designed into the booth are brochure racks. Each travel center’s
brochures feature local and regional attractions.
State-of-the-art lighting
The lighting design for the new service area plazas for the
Ohio Turnpike respond to the owner’s mandate for all elements
of the design: The new facilities had to be durable, efficient and
easily maintained. Further, lighting, as in all public facilities,
plays a role in safety and sense of security for Turnpike patrons.
The lighting design is a natural evolution of the architectural
massing and articulation.
Natural lighting and artificial lighting complement each
other, especially in the large lobby and food court spaces of
the building. A long, curving brick wall topped by a continuous
band of clerestory windows forms the entrance lobby to
the facility, connecting auto parking areas and the auto fueling
areas. Natural light animates the space during the day. At
night, the building glows from within and the roof, with its
long extended overhangs, appears to float structurally unsupported
above the wall. The lobby space is designed with fluorescent
downlights for general lighting, track lighting by Halo
using 50 W PAR 20 lamps for display wall areas, and an array
of Louis Poulsen pendant-mounted fluorescent fixtures above
the information desk. Here, as in the rest of the building, light
fixtures are specified to provide architectural interest as well
as specific lighting tasks.
The lobby features an electronic information center, with
wall-mounted fiber optic signage delineating the weather,
news, construction, and traffic delay/redirection information.
In the food court, a continuous band of punched windows
below the domed roof brings splashes of natural light into
this space, and expands on the architectural language of floating
roof planes. At floor level, patrons have a view out to the
exterior dining areas and the highway through large windows
separated by a series of brick piers. The dome is lighted with
a ring of adjustable asymmetric indirect metal halide fixtures
by Lam, mounted just below the clerestory of punched windows.
These fixtures evenly wash the 80 ft wide and 24 ft
high domed space, while providing easy access to the fixtures
for maintenance.
Two additional levels of artificial lighting reduce the scale
of the space and give it some intimacy. Eight pairs of metal
halide Louis Poulsen luminaires on individual 12 ft poles
mounted on the 4.5 ft high partitions, which zone the food
court space for seating, queuing, and condiments, animate
the large space at one scale. They have an old-time streetlight
feel, a subtly nostalgic effect that recalls the best designs of
today’s malls. Fluorescent Louis Poulsen sconces, one on each
pier, animate the space on a more human scale. These luminaires,
with their horizontal, Saturn-like rings, expand on the
architectural language of horizontal lines and floating roof
planes. The fixtures are space-definers, as with the polemounted
fixtures, and are accents for highlighting architectural
features, as with the sconces.
The gift shop has all of the features of high-end specialty
stores: high-intensity, track-mounted luminaires, recessed
lighting, glass display walls, and sparkling display panels.
Shielded, cornice-mounted lighting along the circumference
gives the shop a glowing, almost weightless quality. It
becomes a destination point responding to the destination
wall.
In the more utilitarian spaces, fluorescent sources are typical.
However, the main public restrooms, combine an artful
use of an indirect linear fixture mounted above the mirrors
which evenly illuminates a half barrel vaulted ceiling. A
recessed cove on the other side of these rooms completes the
lighting scheme of evenly washed surfaces and no visible
light sources.
Minimum architectural lighting was required outside,
given the nature of the clerestory windows and punched
openings, which give the building a surprisingly transparent
appearance at night, while articulating the building’s formal
architectural features. Area lighting for the parking and access
lanes are all 45 ft high pole mounted 400 and 1000 W metal
halide luminaires by LSI. These relatively high pole heights
were used to minimize the number of fixtures interrupting
the parking areas. Lighting bollards by Kim were used for
additional pedestrian walkway lighting between the building
and auto parking.
Inner décor provides ‘mood’
The inner “landscape” of the food court is equally appealing
and memorable. Beneath the glowing dome and perimeter
walls are the various concessionaires whose establishments
are marked with the trademark “Wendy’s” or “Panera
Bread” in warm, glowing neon. The signature decor of the sitdown
restaurant provides additional warmth and coziness.
The floor tile scheme tracks the food court/lobby axis in appetizing
colors: mocha, latte, buff, ivory and a chocolatey hue
that can best be described as “Oreo shake.” The ivory hue
continues in the ivory-colored bricks, which define the
perimeter seating elevation. Above this level, the brick color
changes to traditional terracotta.
The walls of the travel center are faced in a palette of
orange-red or reddish burgundy brick, cut in a small, Roman
pattern that gives texture and visual interest. (The orange and
burgundy schemes alternate from one turnpike center to the
next, in a scheme that unifies the 16 centers across the state.)
Small landscaped areas provide pet walking facilities, line
entrance ways and screen service areas from view. The main
entrance ramp is lined with trees and wildflowers to provide
an inviting, parklike quality. The site is lined with trees and the
landscaped camping area is well screened from service areas
and ramps.
New facilities on the New York State Thruway — larger
plazas with more services and more varied food — reflect the
Ohio influence. Representatives of other turnpikes continue to
visit Ohio’s travel centers.
However, the full effect can be experienced only in the driving.
There’s nothing like the jolt when, after reading the green
sign that says “Service plaza, one mile, travel information,” one
pulls into a facility which makes that 50-year-old phrase not
only a promise, but an understatement. Like the decades-old
slogan, “the pause that refreshes,” the turnpike promise of
immediate, informative service has been newly, refreshingly,
and delightfully reinvented. At the travel center mileposts, it
becomes a reality.
The author: Geraldine Wojno Kiefer is visiting assistant
professor in the department of Art History and
Humanities at John Carroll University, and assistant professor
of Art History at Kent State University. She writes
on modern art, photography, architecture and design, and
is currently working on a book on the early photographs
of Margaret Bourke-White.
50 LD+A/April 2001 www.iesna.org

NOT IN
MY DARK YARD
Light trespass has become an industry buzzword over
the past few years. But as Edward Kramer explains,
simply eliminating light trespass doesn’t solve the whole
problem. You also have to address light pollution.
In recent years, the issue of light trespass
has become a hotly debated
topic. Although this article specifically
addresses roadway and street lighting
installations, the same principles and
design challenges apply to lighting
design tasks with shopping centers and
office building parking lots. Today, while
citizens are requiring increased lighting
for safety and security, it is up to lighting
specifiers and manufacturers to make
certain that light control is added to the
design specifications.
As lighting, civil, municipal or roadway
engineers, specifiers design lighting
systems as they always have done in the
past. Designs meet the seven minimum fc
requirements and stringent max/min and
aver/min ratio requirements imposed.
Why then, do design specifiers often get
more complaints today? It is because a
new design element must be added to
lighting design specifications: “Environmentally-friendly.”
Not only must required
lighting levels be met, but it must
be done in a manner that eliminates
“light pollution” and “light trespass.”
Engineers know what effective lighting
is. They know how to clearly list
design criteria, and they know the right
way to design a project. They also know
that new products and technologies are
emerging on a regular basis. That is why
our designs of yesterday may no longer
be what’s best for today’s society and
today’s needs. Modern technology, manufacturing
capabilities and an enhanced
ability to better understand how to control
and analyze light distribution, have
changed the way engineers design and
evaluate roadway and outdoor lighting
designs.
Let’s take a closer look at these new
design considerations. As a society, we
want and demand lighted highways both
for safety and security. But as property
owners, we don’t want any stray light on
our property. There are two terms that
are generally used to describe these concerns:
“Light Trespass” and “Light
Pollution.”
While these terms are often used interchangeably,
they actually describe two
distinctly different phenomenon, often
caused by the same street, roadway or
area light.
“Light Trespass” is the actual light that
falls off the “right of way.” This can be
measured and quantified. In fact, many
professional lighting designers have
actually been obliged to go out at night
and take measurements of the light that
is actually falling off the right-of-way and
onto a concerned citizen’s property.
Often the measurements taken indicate
that the offending light is at a level
less than moonlight! We take our findings
back, write our report, and may
conclude that the complaint is groundless.
We think we are vindicated; we did
our job. The public just doesn’t understand.
They don’t know the differences
between a lumen and a lemon. We finish
our report, document our findings, and
secretly pray that the problem will go
away. Boy, are we wrong.
We addressed “Light Trespass,” but
not “Light Pollution” — the perception
created by source brightness, the actual
brightness of the luminaire — brightness
that, in some cases, can be miles away.
To make the problem go away, we seek
a quick, inexpensive solution to what is
really a complex problem. Our “easy”
answer is that old standby, the houseside
shield. It is an afterthought solution;
a shortsighted luminaire design. This
solution hopes to cure a poorly designed
light fixture installation by adding a
maintenance problem, a large sheet of
metal fastened (often inadequately) to an
already installed fixture.
It is about time we bite the bullet and
take a serious look at our roadway lighting
designs. Just because we designed a
project one way 5, 10 or 20 years ago,
does not mean that design is best for
today. As an analogy, take a look at automobile
designs of today. The evolution of
the automobile over the past 10-20 years
has been phenomenal. Improved safety,
convenience, comfort and economy are
only a few of the benefits resulting from
this evolution. Shouldn’t our lighting
designs reflect similar technological
advancements?
Today, we have available to us roadway
lighting fixtures designed with integral
internal louvers and shielding to control
stray light. These luminaires are
designed for the exacting task of roadway
lighting with optical systems that set
new standards for light control, and recognize
the required economics of installation
and maintenance.
Some communities have adopted
“Dark Sky” legislation and several manufacturers
have begun marketing products
that supposedly address this emotional
outcry.
But does “Dark Sky” solve our problem?
Is “Dark Sky” actually “Dark
Bedroom” or “Dark Front Yard?” The
concept of “Dark Sky” implies that useless
light is blocked from shining directly
into the sky. In itself, it does not even
suggest “Dark Bedroom” or “Dark Front
52 LD+A/April 2001 www.iesna.org

(From left to right) (top row) 1: The highmast fixture is a commonly used, economical solution for interchange and roadway lighting. This type of lighting
system has the lowest operating costs, when used with optional internal motor lowering devices. 2: The house-side shield is a piece of sheet metal that is
fastened to the fixture housing. Actual cutoff is usually about 85 degrees, and is limited only to one side. 3: The “dark sky” type of fixtures that seem to
have gained acceptance as a partial solution are, at best, a compromise. These fixtures cut off all light at and above 90 degrees. The fixture does not address
light trespass and, most importantly, light pollution. 4. The 80 degree shield offers total cut-off above 80 degrees from the vertical, with 360 degree radial
control. Light above 80 degrees never reaches the ground, but is considered to be the most objectionable source of direct glare and fixture brightness.
(bottom row) 5: 45 and 75 degree internal louvers give the designer tools that economically optimize fixture placement and reduce maintenance costs. This
is considered the most efficient method to minimize light pollution and light trespass. 6: The most economical solution and aesthetically pleasing alternative
to the common cobrahead or off-set fixture for roadway lighting is the median master style. All internal shielding options are available. 7: The off-set
fixture is a contemporary version of the cobrahead. It provides good light distribution on the roadway, but with the highest glare and light pollution of all
roadway fixtures in use today. 8. The cobrahead, like highmast and off-set fixtures, once had prismatic glass lenses. These lenses create a source brightness
visible from distances as far as several miles away. The visibility of these light sources violates the so-called “dark sky” philosophies, and generally creates
light spill problems. There are now better options.
Yard.” The term means that an attempt is
being made to reduce the amount of
light going into the sky, and that is all.
A common offender of “Dark Sky” and
“Dark Bedroom” are the highmast installations
used on highways, interchanges,
storage yards and major parking lots.
Some communities have succeeded in
eliminating the use of this type of lighting
because of past problems and a misconception
of what is causing light trespass
and light pollution. Installations where
luminaire glare and brightness are objectionable
leave a bad taste in the mouths of
a community. It is the task of engineers
and designers to educate themselves and
the community, so they can specify an
outdoor lighting system that meets all the
necessary specifications.
www.iesna.org
As lighting designers, we need to
make a thorough analysis of the optical
systems that we specify or approve. We
know, but may have forgotten, that
reflector designs that yield peak candlepower
in the range of 65-72 degrees yield
the most economical roadway/outdoor
layouts. We also know that light above
80 degrees from vertical never reaches
the ground. Additionally, we know that
light above 80 degrees is the light that
causes direct glare and generates the
most number of complaints. All outdoor
lighting calculations need to include a
thorough review of the candlepower distribution
of the luminaire selected. A
determination must be made about the
amount of light generated above the
peak candlepower of the fixture.
In conclusion, it is my hope that
lighting engineers and designers will
use the tools and the newest types of
outdoor area lighting luminaires at their
disposal, to develop what will truly be
the most effective and most economical
lighting installations, taking into
account design criteria, both specifically
stated and implied.
The author: Edward J.
Kramer is an electrical engineer
with more than 30 years
in the commercial and industrial
lighting industry. He is
Marketing Director for the
MetroLux Lighting division
of Quality Lighting, a subsidiary
of the JJI Lighting Group, Inc., and he has
been an IESNA member for 28 years.
LD+A/April 2001 53

The term “Cutoff” first entered the
lighting vocabulary in 1937, as a
way to describe a “shielding reflector” for
streetlighting. It has also been used to
describe the angle of cutoff in recessed
luminaires. For many years, it signified
sharp glare control, but was not precisely
quantified.
In 1972, the Roadway Lighting Committee
Recommended Practice RP-8
defined “Cutoff Distribution” and “Semicutoff
Distribution” with restriction on
light intensities at vertical angles of 80
degrees and 90 degrees above nadir. This
was the first time outdoor luminaires
were affected by uplight control in an
IESNA published document. The
descriptions are:
Cutoff: A luminaire light distribution
FULL CUTOFF
LIGHTING:
THE BENEFITS
Although the definitions for cutoff lighting
have remained virtually unchanged for nearly
30 years, a new classification — full cutoff —
has been introduced. Douglas Paulin details
the finer points of this new terminology.
where the candela per 1000 lamp
lumens does not numerically exceed 25
(2.5 percent) at an angle of 90 degrees
above nadir, and 100 (10 percent) at a
vertical angle of 80 degrees above nadir.
This applies to all lateral angles around
the luminaire.
Semicutoff: A luminaire light distribution
where the candela per 1000 lamp
lumens does not numerically exceed 50
(five percent) at an angle of 90 degrees
above nadir, and 200 (20 percent) at a
vertical angle of 80 degrees above nadir.
This applies to all lateral angles around
the luminaire.
Noncutoff: A luminaire light distribution
where there is no candela limitation in
the zone above maximum candela.
Although the wording has changed
slightly since 1972, these definitions of
uplight control have not changed in any
material way. A cutoff luminaire in 1972
is still a cutoff luminaire today. However,
there are practical subtleties that need to
be explained before we can fully appreciate
the differences between these three,
and to understand the new classification
of Full Cutoff.
A luminaire with a Cutoff classification
can (and often does) have some
light above 90 degrees. The definition
of Cutoff says nothing about amounts
of light above 90 degrees, but it is generally
agreed that the light should be no
more than the value at 90 degrees, and
should be decreasing as the angle
increases. In fact, there could be some
measurable light emitted at 180
However,
this
should be
a trade-off
that is in
the hands
of the
lighting
professional,
not anyone
else
When every luminaire on a site has a down-tilt, installation error is evident.
degrees (Zenith). Uplight Control is
what these definitions describe. Not
absolute values, either, since the candela
intensity is a proportion of the
lumen package of the lamp.
Another generalization that can be
made about a cutoff luminaire is that it is
flirting with the limits of the classification
at 80 degrees, not at 90 degrees, and
this will usually occur in the horizontal
plane of the “MAX,” or in simple terms,
the main beam.
A luminaire with a Semicutoff classification
can be something that “just
54 LD+A/April 2001 www.iesna.org

(top) Properly up-tilted luminaire
maximizes the illumination on the object.
(bottom) The luminaire is up-tilted in the belief
that the “beam” is perpendicular to the lens.
missed” being cutoff, but the manufacturer
determined that the performance
as measured on the work surfaces was
more important than achieving Cutoff.
This is a trade-off involving glare-control
vs spacing-to-mounting height, and it is
not uncommon in the late 1990s. Some
of the most popular parking lot luminaires
are actually semicutoff, when the
actual photometric report is viewed. It
also follows the earlier discussion on
light above 90 degrees that a luminaire
classified as semicutoff produces even
more light above 90 degrees than a cutoff
luminaire is allowed.
A luminaire with a Noncutoff classification
can also be something that “just
missed” being Semicutoff, or…a “glarebomb”
that puts equal amounts of light
into the heavens as on the ground.
One last issue to understand before
leaving the Cutoff and Semicutoff classi-

House-side striations or bright spots can result from uptilting types II, III or IV.
fications: “Sagged glass” or any formed
lens which drops down below the bottom
of the luminaire housing. The presence
of a “non-flat” lens does not mean
the luminaire is not Cutoff. Sagged glass
is a good bet that the luminaire is not
Full Cutoff. It should raise suspicions
about a Cutoff classification, but it is possible
to produce a luminaire with a
sagged lens, drop lens or even drop prismatic
lens well within the limits of the
Cutoff classification.
At this point, we can establish a definition
for the Full Cutoff classification: A
luminaire light distribution where zero
candela intensity occurs at an angle of 90
degrees above nadir, and at all greater
angles from nadir.
Additionally, the candela per 1000
lamp lumens does not exceed 100 (10
percent) at a vertical angle of 80 degrees
above nadir. This applies to all lateral
angles around the luminaire.
This term is found in print in RP-33
(Exterior Environments), the Ninth Edition
of the IESNA Handbook and recently
in RP-8 (Roadway), which is the first time
it is an ANSI-approved document. Full
Cutoff is the most extreme classification
for uplight control. It allows no light
above 90 degrees, and in fact not one candela
at 90 degrees. Now, just below 90
degrees? Of course, there will be light just
below 90 degrees. The closest angle a
photometer will probably report on is
87.5 degrees, although 85 degrees would
be more customary. It is difficult to conceive
of a luminaire being classified Full
Cutoff if it has anything but a flat lens
which is parallel to the ground.
The other criterion Full Cutoff regulates
is at the 80 degree angle, which is
identical to the Cutoff classification.
There is no guarantee that glare experienced
in the parking area or roadway
will be better with a Full Cutoff luminaire
than with a Cutoff luminaire. You
must obtain the photometric report to
determine real differences.
One final issue on Cutoff classifications:
they are only viable if the luminaire
is not uptilted. All Cutoff classifications
are null and void if the luminaire is
installed with an uptilt.
• A Full Cutoff luminaire is effectively a
Cutoff luminaire if it is tilted up but one
degree.
• Many Cutoff luminaires will actually
give you a Semicutoff distribution (or
Noncutoff)
• Depending on the angle of uptilt, a Full
Cutoff luminaire can effectively give you
a Noncutoff distribution.
How does one guarantee the distribution
described in the photometric report
is provided? Don’t allow them to be
mounted with an adjustable knuckle or
slipfitter. A rigid mounting arm with no
built-in uptilt and no adjustment feature
is the best guarantee. This will almost
certainly increase the number of poles
and luminaires, compared to products
that are uptilted. However, this should be
a trade-off that is in the hands of the
lighting professional, not anyone else.
Twin luminaries “tilted” sideways due to looseness and ballast weight.
The author: Douglas Paulin,
LC, is product manager for
Ruud Lighting. Prior to joining
the staff at Ruud Lighting,
he was product manager and
product/marketing manager
for three of the major lighting
fixture manufacturers in the
U.S.: Lithonia Lighting, Cooper Lighting and
Thomas/Day-Brite Lighting. He currently serves as
vice-president — design and application for the
IESNA. He has been an IESNA member since 1988.
56 LD+A/April 2001 www.iesna.org

facilities. The technical support
section includes catalogs, brochures,
spec sheets, Smart Cards,
Market Segment Profiles, Learning
Labs and other materials that are
consolidated onto the program
nector models are available for
wall sconces, surface mount and
other decorative luminaires.
requirements — pendant, ceiling
and wall — which all use 100 or
200 W medium base lamps.
and features a unique faceted finish
in five shades, plus black and
white. The cylindrical “bullet” diffuser
is available in clear or stainetched
prismatic glass with optional
zinc-plated wire guard and perforated
aluminum enhancement.
Circle 100 on Reader Service Card.
Circle 94 on Reader Service Card.
Ledalite Architectural Products
introduces the Soleo LP low-profile
version of its Soleo steel lighting
luminaire. Part of Ledalite’s new
LIGHT
PRODUCTS
Steelform series, Soleo LP offers
soft luminous profiles in a choice of
medium or low-profile formats.
Soleo LP is available in standard
white or a natural steel housing finish
highlighted by translucent endcaps
available in seven colors.
Soleo LP comes pre-wired and is
available with either one or two T5
HO or T8 lamps.
Circle 98 on Reader Service Card.
Lambda Research Corporation
offers Release 2.3 of its TracePro
software for illumination and optomechanical
analysis. The company
is also releasing a new edition,
TracePro RC. The TracePro product
line now includes four products:
TracePro RC, LC, Standard and
Expert. TracePro reduces product
development time by 30-50 percent,
and the new edition offers
users a wider choice of features
and prices.
Circle 96 on Reader Service Card.
Starfire Lighting, Inc., introduces
the Swaro Lite crystal architecture
illumination luminaire. The pointsource
lighting can be recessed
into ceilings providing fiber optic
picture and artwork illumination
without fade or discolor. There is
no contribution to the unnecessary
dying of painting, drawings,
photographs or other prints of any
kind. When illuminated with white
or colored light, the fiber optic picture
light emits a pleasing, glarefree
and energy-efficient low-voltage
illumination.
Architectural Landscape Lighting
now offers Corona luminaires,
which emit crisp, even ambient illumination
from a bold, contemporary-design
luminaire. The Corona
housing combines a smooth-surfaced
bullet-shaped design in a
small- and medium-scale. A range of
color filters for the louver may be
specified to create distinctive, eyecatching
but subtle custom cobra
lighting effects. The luminaires are
ideal for accentuating architectural
public and private building or landscape
features, signage, building
entryways and perimeters, gardens
and pathways.
Circle 92 on Reader Service Card.
Characterized by uniformly crisp
and timeless transitional design
throughout the model range is
TSAO’s new G-8 collection of ceiling-,
pendant- and wall-mounted
sand-etched glass lighting luminaires.
The G-8 light bodies are
made of flat and tubular steel, plated
in polished or satin chrome, or
antique bronze; polished or satin
brass; and steel painted in custom
powder-coated baked enamel colors.
The G-8 series is available in a
wide range of sizes.
Circle 90 on Reader Service Card.
FC Lighting Manufacturers introduces
10 exterior chrome bulkhead
luminaires to its Architectural
Lighting Series. Both the wall and
ceiling-mounted luminaires offer
decorative and accent lighting
capabilities for office buildings, hospitals,
hotels and other commercial
facilities. The FCWS series comes
in chrome, black, white and custom
colors, as well as a variety of
shapes ranging from square, round,
eyelid and oval shapes. Each bulkhead
measures 10 x 4 in. allowing
it to use energy efficient compact
fluorescent PL lamps ranging from
13-26 W.
Circle 89 on Reader Service Card.
Circle 99 on Reader Service Card.
Levition Manufacturing’s Industrial
Products Division introduces the
Industrial Wiring Device APTitude
(Advanced Product Training) 2000
CD-ROM training program. Complete
with graphics, audio inserts
and point and click navigation, the
APTitude consists of three basic
sections — an industrial products
section, a technical support section
and a health care products section,
which provides information on
devices suited to the specialized
needs of hospitals and health care
Circle 97 on Reader Service Card.
MagneTek Lighting Products
Group has expanded its family of
ballasts for compact fluorescent
lamps to include a ballast for high
wattage applications. The
C242UNV is designed for flexibility
in downlighting, architectural and
outdoor application and operates
on two 42 W and two 32 W or two
26 W compact fluorescent lamps,
as well as two 22 W or 40 W circular
T5 lamps. Bottom exit versions
fit on any junction wiring
box, with or without integral
mouthing studs, and side exit con-
Circle 95 on Reader Service Card.
Panasonic Commercial and Residential
Products Group offers a new
line of compact fluorescent screwin
lamps. The GEN-IV line provides
facility managers with an all-encompassing
lighting solution that delivers
efficiency and savings up to 70
percent in energy consumption
when compared to incandescents.
The pear-shaped lamp can fit a standard
screw-type base for easy
installation. The GEN-IV is available
in 14 and 23 W versions that provide
light output equivalent to 60
and 70 W.
Circle 93 on Reader Service Card.
Appleton has introduced a new line
of UL-Listed weatherproof incandescent
luminaires that provide energy-efficient,
bright lighting in areas
where moisture, dirt or corrosion is
a problem. Compact and rugged,
they’re 120V rated and represent
an excellent solution for construction
sites, tunnels, bridges and subways.
WFA luminaires can be directmounted
to walls, ceilings or structural
members, in part because no
separate outlet box is required.
Three mounting models are available
to meet specific application
Circle 91 on Reader Service Card.
Luraline Products Company has
introduced the Facets line of luminaires,
part of the new Designer
Series set to debut at LIGHTFAIR
INTERNATIONAL 2001. A trio of
classic industrial designs, Facets
brings retro flair to all types of
indoor, outdoor, residential and
commercial applications. Facets
are available in ceiling-, pendantand
wall-mount configurations with
a choice of incandescent, halogen
or compact fluorescent lamping,
H.E. Williams, Inc. has introduced a
compact, sleek design of the SD14
luminaire. Measuring 3.5 in. high
and 6.125 in. wide, the SD14
blends into any environment. The
standard perforated reflector offers
a 15 percent uplight component to
gently illuminate the ceiling for a
pleasing, ambient effect. The luminaires
are available in one- or twolamp
T5 cross-sections, and 4-8 ft
lengths. Variable mounting points
with snap-on, sliding hangers provide
mounting flexibility either individually
or in continuous rows, making
the SD14 an ideal choice for
offices and educational facilities.
58 LD+A/April 2001 www.iesna.org
www.iesna.org
LD+A/April 2001 59

scene pre-set levels. The system
also utilizes low-voltage CAT-5
cable and solid-state components.
All high-voltage wiring is centralized
in sealed enclosures.
shaped yoke to allow smooth, accurate
aiming through a range of
angles to suit all application requirements.
The Ciello luminaire features
a durable die cast aluminum
construction with a chip and fade
resistant enamel finish.
create a vandal-resistant landscape
lighting fixture. 35-100 W
long-lasting metal-halide lamps provide
crisp, white illumination.
W CFL. The Cutoff Wallpack is
available in durable bronze or white
powder coat finish.
Circle 88 on Reader Service Card.
LightDirector, LLC offers a new dimming
and wiring system designed
with independent wall controls and
independent control panels — each
with a built-in micro-controller and
all inter-connected as one complete
system. Each wall control is available
with a selection of magnetic
switch plates that can operate up
to six independent loads at any
given location and can create
Circle 87 on Reader Service Card.
New pole- and surface-mounted low
voltage accent Ciello luminaires by
Architectural Landscape Lighting
provide evenly distributed, low-glare
accent illumination for outdoor
building entryways, perimeters, gardens
and pathways. The cylindrical
housing features a narrow base and
a broad lamp head. At the base, the
luminaires are affixed to a solid, U-
Circle 86 on Reader Service Card.
HighLites announces its interactive
PDF full version CD-ROM catalog.
Viewers simply insert the easy-touse
CD-ROM, which allows access
to a complete product catalog index
for HighLites. The index screen
is broken down into sections for
HighLites’ newest commercial products.
Pages from the catalog can
be printed in color to allow for easy
referral to product information.
Circle 85 on Reader Service Card.
Quality Lighting introduces WFB
lighting bollards, which provide
even, glare-free pedestrian-level illumination,
which defines perimeters
and pathways for public and private
parks, building grounds, gardens,
waterfront and recreational environments
for vandal-prone locations.
The WFB Bollards feature a
distinctive architectural design aesthetic
with rugged, heavy-duty
housing and lens construction to
Circle 84 on Reader Service Card.
RAB Electric Manufacturing Inc.,
has introduced a small 100 W
Maximum Cutoff Wallpack. The
popular WP1 Wallpack now features
a cutoff glare shield, for
“Friendly Lighting.” “Friendly Lighting,”
RAB’s new product line consists
of wallpacks, floodlights and
sensors designed to eliminate both
light trepass and wasteful night
sky pollution. The complete luminaire
is available in 35, 50, 70, and
100 W High Pressure Sodium, 50,
70 and 100 W Metal Halide or 42
Circle 83 on Reader Service Card.
For the industry’s most complete
source of direct incandescent
replacement Light Emitting Diode
(LED) lamps, LEDtronics offers a
new 31-page Miniature Based LED
Lamps catalog. The catalog includes
dimensional data, illustrations,
specifications applications
and cross-reference tables for incandescent
lamps, which accompany
each LED lamp listing. A comprehensive
reference chart shows the
available LED hues, wavelengths forward
voltages, intensities, viewing
angles and dye materials.
For the first time ever,
The IESNA
Lighting Handbook
is available on
CD-ROM.
See page 57 for
ordering instructions.
More
than
just the
handbook!