The

Lighting Design + Application • December 2004 LIGHTING ®

AUTHORITY

Monumental
Feat
P H I L A D E L P H I A’ S
BENJAMIN FRANKLIN
PA R K WAY

Focus on
OUTDOOR
LIGHTING & PUBLIC
SPACES
CONTENTS
O U T D O O R L I G H T I N G & P U B L I C S PA C E S
December 2004,
VOL. 34/NO. 12

57
44 53
Blonde Swope,
Under Blue There It Is
The Rion-Antirion Bridge weaves a After years of neglect, a Kansas City
tapestry of colored light across the memorial has been returned to its
Gulf of Corinth former glory

57
53 Franklin
Mint
A dramatic lighting program has
revitalized Philadelphia’s Benjamin
Franklin Parkway 62

F E A T U R E S
62
Get Ready, Get Set
Andiamo
Ponte Vedra’s newest café is warm,
inviting and ready to serve

48 CENTURY SERIES
A City’s
Many Faces 67
A façade lighting master plan in A Long And 44
South Bethlehem, Pa, is helping Winding Road
designers get past the mindset From gas lights through Cobra-heads
that their client’s building is the and LEDs:A look back and at what’s
only one in town around the bend in roadway lighting

D E P A R T M E N T S
4 Editor’s Note • 6 Letters to the Editor • 14 Executive Vice President
Reports • 16 Regional Voices • 18 Research Matters • 22 Energy Advisor
• 24 Retrofit & Upgrades • 28 Careers & Hiring • 30 Industry Updates •
33 IES News • 38 Scanning the Spectrum • 39 IIDA Application • 43
Scanning the Spectrum • 75 Brandston Grant Application • 71 Light
Products • 79 Article Index • 86 Calendar of Events • 87 Classified
ON THE COVER:
Advertisements • 88 Ad Offices • 88 Ad Index The Civil War Soldiers and Sailors
LD+A (ISSN 0360-6325) is published monthly in the United States of America by the Illuminating Engineering Society of North America, 120 Wall Memorial, one of 20 monuments and
Street, 17th Floor, New York, NY. 10005, 212-248-5000. © 2004 by the Illuminating Engineering Society of North America. Periodicals postage paid at New buildings illuminated along the Benjamin
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EDITOR’S NOTE
IS PHILADELPHIA THE
new unofficial lighting capital
of North America? A quick
tally of articles published in
LD+A over the past year might
lead to that conclusion. Last
November, we covered the
exhibit lighting at the National
Paul Tarricone Constitution Center, the first
ever museum dedicated to the
U.S. Constitution.
That was followed by a
one-two punch in February—
a feature on Philadelphia’s
“Every Light...Every Night”
streetlight maintenance pro-
gram, which aims for a 99 per-
cent-plus success rate, and an
article on the re-lighting of
the Liberty Bell.
We followed that up in
March with an article on how
to develop and implement an
urban lighting master plan,
subtitled “Beyond Footcandles
to Economic Growth.” The
case study used? None other
than Philadelphia.
Finally, our cover story in
this issue on the Benjamin
Frankin Parkway might be the
piece de resistance (not to be
confused with the Champs
Elysees, which Grenald
Waldron designer Sandra
Stashik compares the parkway
to). The comprehensive light-
ing program encompasses
pedestrian and roadway light-
ing, plus illumination of eight
buildings and 12 monuments
and statues that line the park-
way.
Why the boom in
Philadelphia design? “There’s
been a renaissance and revival
in the city,” says Stashik. “At
one time there were no side-
walk cafes. Now there are 130.
There are more hotels, and
residential real estate has
taken off.” When I suggested
that lighting might be riding
the coattails of this revival,
Stashik corrected me.“Lighting
is the focus of the urban
renewal.” So much so that
GW has established what it
calls a lighting “vocabulary” for
4 www.iesna.org
Center City, Philadelphia, man-
ifested in 1600-plus cus-
tomized pedestrian poles and
fixtures throughout the city.
As for the rest of the pro-
jects (the Constitution Center,
etc.), Al Borden of Philadelphia-
based design firm The Lighting
Practice maintains it’s just
coincidence that they’re all
“coming on line at the same
time.”
That said, we’re not done
with Philadelphia just yet. On
deck for early 2005 is an arti-
‘The city has
changed. At one
time there were
no sidewalk
cafes. Now
there are 130.
There are more
hotels, and
residential real
estate has
taken off’
cle on Citizens Bank Park, the
new home of the Philadelphia
Phillies. With all this attention
in LD+A being focused on the
City of Brotherly Love, pretty
soon, people might begin to
talk. But, as Borden says,
“Hopefully you will keep writ-
ing about us.”
If Philly keeps it up, the
answer is yes.
Publisher
William Hanley, CAE
Editor
Paul Tarricone
Assistant Editor
Roslyn Lowe
Associate Editor
John-Michael Kobes
Art Director
Kim Katz
Associate Art Director
Samuel Fontanez
Columnists
Emlyn G. Altman • Peter Bleasby
Denise Fong • Doug Paulin
Paul Pompeo • Stan Walerczyk
• Willard Warren
Book Review Editor
Paulette Hebert, Ph.D.
Marketing Manager
Sue Foley
Advertising Coordinator
Leslie Prestia
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LETTERS TO THE EDITOR
No Defense for LPS
I was frankly surprised by the
article from Dr. Mark Rea and Dr.
John Bullough of the Lighting
Research Center in support of
low pressure sodium. (LD+A,
September,“In Defense of LPS”). I
was a little bit surprised they
wrote it but even more surprised
by the number of errors of omis-
sion and commission it con-
tained.
To begin with they equate high
efficacy, the ability of a source to
convert electricity to visible light,
with an ability to effectively meet
illuminance requirements, stating
“LPS is the most efficacious
source for meeting specified light
levels.” Not necessarily true.The
large size of LPS lamps makes it
difficult to distribute their lumens
effectively in a desired pattern.
They are far from a point source.
It would take a luminaire the size
of a bathtub to effectively distrib-
ute LPS lumens. Even the largest
LPS luminaires don’t come close
to being big enough for true opti-
cal control.
Contrast this with the authors’
later statement that large LPS
luminaires can provide better
light distribution than that
achieved with small-area sources.
The fact remains that the larger
the light source, the larger the
luminaire’s optics must be to
effectively distribute that light.
Larger luminaires are heavier
luminaires with higher wind load-
ing, necessitating stronger, more
expensive poles. Inefficient deliv-
ery of lumens where needed
6 www.iesna.org
means more luminaires needed
to get the job done. Increases in 2004-2005
initial and operating costs follow. Board of Directors
IESNA
Regarding lumen maintenance,
while it’s true LPS lamps maintain PRESIDENT
their initial lumen output with Craig A. Bernecker, Ph.D., FIES, LC
very little degradation over time, The Lighting Education Institute
they do experience an increase in PAST PRESIDENT
their power draw. This leads to a Ronnie Farrar, LC
decrease in efficacy. Duke Power
Table 1’s values for illuminance
SENIOR VICE PRESIDENT
and relative power at typical (President-Elect)
roadway lighting levels are based Alan L. Lewis, O.D., Ph.D., FIES
on cone response only, but as we The New England College of Optometry
all know now, the rods are quite
active at those light levels and VP-EDUCATIONAL
ACTIVITIES
play a large role in our peripheral Fred Oberkircher, LC
vision. The LRC’s own research Texas Christian University
has shown that for equal reaction
times in detecting objects in one’s VP-TECHNICAL & RESEARCH
Ronald Gibbons, Ph.D.
peripheral vision, LPS fares very Virginia Tech Transportation Institute
poorly against HPS and MH. This
is an important safety issue that VP-DESIGN & APPLICATION
cannot be ignored. The lower the Joseph B. Murdoch, Ph.D., FIES
light level, the poorer LPS is as a
VP-MEMBER ACTIVITIES
design choice. Kimberly Szinger
The authors ask,“Do we really Erdman Anthony & Associates
care about the color of the bicy-
cle we want to avoid when dri- TREASURER
Boyd Corbett
ving at night?” The color may not S2C Incorporated
be important, but we do want to
see it, and that often means hav- EXECUTIVE VICE PRESIDENT
ing good peripheral vision. William Hanley, CAE
Referring to dark-sky consider- IESNA
ations, the authors state, “Since DIRECTORS
LPS is essentially monochromatic, Jean Black, LC
it is possible to almost complete- PPL Services Corp.
ly eliminate sky glow from these
Earl Print, LC
sources using light pollution sup- Lightolier
pression filters...” Since the filters
are applied to the astronomers’ Kevin Flynn
instruments, they eliminate that Kiku Obata & Company
band of light from what the
Denis Lavoie, LC
astronomers see and measure. LUMEC, Inc.
They have absolutely no effect on
sky glow, which is the reflection David A. Baum
of light to our eyes by the atmos- Holophane
phere, clouds, dust, etc. Terrance Kilbourne, LC
Toward the end of the article TEC, Inc.
the authors ask, “Are we to con-
clude that color deficiency is the RVP/DIRECTORS
most important criterion for Paul Mercier, LC
Lighting Design Innovations, Ltd.
rejecting a light source from con-
sideration?” My answer is: Some- Thomas Tolen, LC
times, yes. And most of the time TMT Associates
it is at least an important criteri-
on. There are a great many issues
and design considerations to be
weighed in any lighting design,
including efficacy, cost, aesthetics,
LETTERS TO THE EDITOR
visual performance, maintenance,
owner preferences, appearance of
the luminaire and how it fits in the
complete design, and the color
characteristics of the source and
their appropriateness for the appli-
cation.
Finally, regarding the influence of
the trade press on the popularity
of light sources, the authors point
out “a nearly perfect correlation
between the likelihood of a partic-
ular light source being selected as
better and the number of times it
was mentioned in the lighting trade
press!” They seem to be implying
cause and effect: If it’s mentioned in
the trade press, then lighting speci-
fiers will use it, and the corollary, if
specifiers don’t use a source, it’s
because no one writes about it. I
would suggest that lighting speci-
fiers get their information from
more than just trade magazines,
and that perhaps the trade maga-
zines’ articles are a reflection of the
low interest by the lighting com-
munity in using a light source that
has so little going for it.
Dawn De Grazio, LC
Holophane
Newark, OH
I think there are very good rea-
sons why LPS should be added to
the “list of endangered light
sources” that Mark Rea and John
Bullough did not state in their arti-
cle “In Defense of LPS.”
One is installed initial cost.With
the extra windage factor from the
nearly four-ft fixture head, poles
have to be stronger and founda-
tions have to be beefier. Related to
this is that multiple LPS pole fix-
tures would be required instead of
using a single 1000-W HPS pole
fixture.
A second is higher maintenance
costs. LPS lamps are only rated for
16,000-18,000 hours compared to
24,000 hours for HPS and 100,000
hours for induction. Just for HPS,
that is one to two extra years
before lamps have to be replaced.
The labor costs to typically
replace street lamps are very
expensive. LPS lamps cost two to
8 www.iesna.org
four times more than HPS lamps.
A third is the mercury issue.
There are also some very low mer-
cury HPS lamps.
The fourth, which may be the
most relevant, is the following case
study. Several military bases in
Southern California have recently
retrofitted their street light pole
fixtures that had 180-W LPS with
two F54T5HOs, electronic ballast
and reflector kit. Although pho-
topic footcandles decreased, peo-
ple perceive the new lighting as
brighter. The security guards really
like the new lighting, because with
the old LPS, they and others could
not see the colors of skin, clothes
or vehicles. Plus the security cam-
eras work better with the new
white light. T5HOs are rated for
20,000 hours, which is 2000-4000
hours longer. Two F54T5HOs cost
a fraction of an LPS lamp. Wattage
was reduced from an average of
230 (system wattage increases sig-
nificantly as LPS lamps age) to 117
with the T5HOs. That is a 49 per-
cent electrical savings. It is under-
stood that T5HOs may not work in
cold climates, but T5HOs in certain
fixtures are being used in freezers.
Stan Walerczyk, LC
Lighting Wizards
Walnut Creek, CA
Next-day Package
David Mintz’s assessment of
“packaging” is indeed accurate
(LD+A, October, “Return to
Sender”).As I read it I was remind-
ed of two articles I wrote for
Architectural Lighting a few years
ago. The first, entitled “Is the
Gourmet Lighting Rep a
Dinosaur?” appeared in 1997. I
defined a gourmet rep as one who
thoroughly knew the products of
the 10 or so innovative non-con-
flicting manufacturers he or she
represented. Today the gourmet
rep is virtually gone, and the con-
glomerate-driven packaging mega-
rep (with 50-100 lines) dominates
the scene. Innovative independent
manufacturers often get lost in the
mega-rep’s conflicting array of lines
and their products do not get the
attention they deserve.
The second article,“The Package
Era will end with the Internet,” fol-
lowed a few years later. While the
Internet has certainly not ended
the packaging era, it does provide a
venue for manufacturers to show
innovative products. If specifiers
will, as David suggests, insist that
bids be based on plans and specs
and include unit prices for all items,
independent companies will again
prosper. Maybe the gourmet light-
ing rep will reappear, and indepen-
dent lighting manufacturers will
better be able to control their own
destiny.
Warren G. Meltzer
Lake Creek Associates
Prescott, AZ
David Mintz’s essay on packaging
will prompt responses from differ-
ent segments of the lighting indus-
try, most notably the lighting repre-
sentatives (aka,“The Rep”). Having
been a member of this much-
maligned group for over half a cen-
tury, I should probably rush to our
collective defense, but I won’t.
Many of his negative comments are
unfortunately quite deserved.
It is with the lack of develop-
ment of the breadth and depth of
the roots of what we call packaging
that I take issue. This is in four
areas:
1) The structure of the construc-
tion industry; 2) The rise of big cor-
porations, including those in light-
ing; 3) The evolution of construc-
LETTERS TO THE EDITOR
tion bidding practices, away from
fixed bidding on completed con-
struction documents; and 4) The
influences of an extra middle-
man—the electrical distributor.
1) After my second reading of
the essay I was struck by the single-
dimension characterization of the
“problem”—if in fact it is a prob-
lem. Look at the construction
industry of which each of us is a
part. Its entire method of doing
business from foundation to roof is
based on packages. The organiza-
tion of construction specifications
and the breakdown of construc-
tion trades invite, if not demand,
pricing in definable packages.
2) The emergence of the lighting
conglomerates is packaging on a
different level. My earliest memo-
ry of my vocation was of five or
six individual men, each working
out of an office in his basement or
spare bedroom who constituted
the “lighting reps” in a territory
which now supports many “rep
firms” each with 15 to 20 or more
employees. Most are affiliated
with one major conglomerate and
upwards of 20 independent pro-
ducers. The “package” offered by
each conglomerate in itself can
easily supply all of the lighting
hardware for a large percentage of
projects without requiring the
products of the more “specified”
independent and European manu-
facturers. Packaging is certainly
not the sole domain lighting rep-
resentatives.
3) To imply that reps are the sole
contributors to the ills brought on
by packaging is to ignore the con-
voluted process by which lighting
“packages” are purchased within
the construction process. The
essay makes mention of the con-
tractor with no differentiation
between general contractor and
electrical sub-contractor. Each
adds his pressure during the end-
less rounds of pricing, bidding, re-
bidding, value engineering, etc. In
recent years, we have seen the con-
cept of “guaranteed maximum
price” (GMP) in which a price for a
project is fixed based on very pre-
liminary documents. From that
10
point on, all upward pressure on
the quality of the project (including
the lighting) ceases. It’s all downhill
from there.
4) With lighting, the process is
made more complex by the pres-
ence of an additional layer, the elec-
trical distributor, in a key position:
purchasing and credit. Ignoring
their presence and influence pro-
vides an incomplete picture of the
route by which lighting products
get to a project. The presence of
this element in the process seldom
acts to maintain the quality of the
lighting design.This topic in itself is
worthy of a lengthy essay,
No response to an essay by a
design professional on a controver-
sial issue is appropriate without
acknowledging his frustrations at
having talent and efforts regularly
subverted by an antiquated
process, insensitive participants
and often unappreciative clients.
With all respect, I thank Mr. Mintz
for his thoughts and insights.
Dick Dunlop
Columbia, ND
Missing the Boat on
Ballasts?
I think that Conan O’Rourke in
his article “Electronic Ballasts For
Metal-Halide Lamps: Where Are
They?” (LD+A, October, “Research
Matters”) missed the boat regard-
ing the higher wattage ballasts.
Although he stated,“Few electron-
ic ballasts are available at higher
wattage...” this is not the case.
Advance, AMF Technology, Delta
Power, GE, Green Earth,
Holophane, IEPC, Metrolight,
Romlight and Venture Lighting cur-
rently provide electronic ballasts
for 250-400-W PS MH, and
Sylvania is planning to enter this
market in 2005. Especially with the
brand new GE ballast, which is very
reasonably priced, the other manu-
facturers may reduce their prices.
These mid wattage PS MH elec-
tronic ballasts, not only use less
wattage than their magnetic equiv-
alents, but also significantly improve
lumen maintenance, can often
reduce warm up and re-strike
times, and may increase lamp life.
Stan Walerczyk, LC,
Lighting Wizards
Walnut Creek, CA
The Case for Codes
I was interested and surprised by
Bill Warren’s comments about
energy codes restricting design
(LD+A, October,“Energy Advisor”).
Codes are necessary in lighting to
break free of the fetters of the sta-
tus quo. In lighting, we see at least
three areas of code influence.
First we are reducing the energy
used by lighting in new construc-
tion because of energy codes.
Principally this started with
ASHRAE/IESNA 90.1-89. The T8
lamp is an example of codes driving
the adoption of harsh medicine for
our “own good.” The move from
T12 to T8 lamps has been widely
adopted because of this early code
and the impact of EPACT. It took
both of these to force designers
and owners to adopt these newer
technologies at a premium first
cost. Owners benefited by the
lower operating cost and improved
lamp characteristics. Without the
influence of mandatory codes,
these benefits would never be
implemented or realized.
Designers did benefit by newer
products, which allowed some
innovation in their designs.
The second code influence we
encounter is lighting for human
safety.This normally manifests itself
in egress and/or emergency light-
ing, which mandates minimum
lighting for safe occupancy and
evacuation. The most recent code
activities in this area serve to clari-
fy these requirements, generally
reducing over design.
Finally, the night is being pre-
served or restored in our commu-
nities by adopting exterior lighting
ordinances.These “dark sky” codes
attempt to control the amount of
light, the placement of it and the
extinguishing of non-needed light
when appropriate.
Codes shouldn’t be seen as “lim-
itations” to design. Most codes
clearly and specifically state they
www.iesna.org
LETTERS TO THE EDITOR
are not intended to dictate lighting
design. In other words, the watts
available to light a space can be
“spent” in any way the owner and
designer want. Designers don’t
have to light an office with fluores-
cent lights, direct or indirect. The
requirements of the “code” man-
date the amount of energy available
to do the job, and the degree of
controls, passive or manual, that
has to be employed in the space.
The code allowance of 1.3 watts
per sq ft for office lighting can be
seen from supplemental informa-
tion on the IESNA’s web site. The
recommended practice of 30fc
certainly can be met with the
allowable power, unless the design-
er wants to light the office with
MR16 lamps. Certainly humans in
offices have benefited from the
advancements in lamps, ballasts and
luminaire design that have come
from disallowing older, more ineffi-
cient lighting systems, even if older
technologies were perceived as
less costly.
I was fortunate to receive the
Edison Award from GE this year
and an IIDA Award of Excellence
for a church I did, which, while pre-
dominantly tungsten, with the use
of dimming and strategic compact
fluorescent sources, came in at
1.46 watts per sq ft total and 0.2
watts per sq ft in unoccupied night
mode. This facility will never reach
1.46 watts per sq ft because of
extensive daylighting and the dim-
ming, but it has to be calculated and
reported this way.
The Comcheck EZ software the
city required allowed 2.2 watts per
sq ft, so this was well in compli-
ance. I’m told that this, the dim-
ming, the daylighting and the low
nightlighting UPD were among the
reasons I was awarded a
Sustainability Award. I never felt
limited by the energy code.
The design was a challenge, but
it was worth every minute spent
in design, meetings, in the field,
etc. because it delivered a proper-
ly designed and realized facility
that will be economical to own
and operate for years to come,
while serving all of the functions
12
of a busy church.
The area of merchandising is
somewhat more complicated. Early
exclusions for display and feature
lighting were abused.This naturally
caused the code writers (who by
the way are us—members of the
IESNA in joint association with our
ASHRAE partners) to limit the
abuse by reducing the watts avail-
able for diversion. Yes, the days of
two 250-watt PARs on a sweater
are likely gone, but the market has
responded by providing a function-
al substitute at 70 watts. As an
aside, the IESNA has representa-
tion on these committees that
actually write these codes; any
qualified IESNA member can par-
ticipate. Volunteer for service to
the industry.
In the case of the church project
and many of the other projects on
which I have worked, it is permit-
ted and advantageous to calculate
the energy usage using an area
method.This takes more work, but
it is more precise and it generally
allows more energy to be used.The
code-compliant software used by
many jurisdictions is not particular-
ly friendly in this regard, but it can
be made to work.
While many designers deem
their job confined by these codes,
they should view these restrictions
as progressive, forcing design to a
new level of knowledge, creativity,
and resourcefulness. At the risk of
offending some readers, these chal-
lenges and the elegant solutions
they can create, are what separates
the design professionals from the
repetitive solutions of contractors
and fixed-solution peddlers. Not
all factory or independent sales-
persons fit this mold, but we all
know some people who are stuck
in the 1980s.
Joseph M.“Jody” Good, III, LC
Spectrum Engineers, Inc.
Salt Lake City, UT
When I read the “Energy
Advisor” column by Willard
Warren in the October issue, I was
surprised and disappointed with
Mr. Warren’s comments about the
ASHRAE/IESNA 90.1 standard and
the inference that it has taken the
art out of lighting design. As a
member of the 90.1 Lighting sub-
committee, we spent hundreds of
hours reviewing and revising the
2004 LPD values, using lighting
models that were developed and
have been available for review on
the IESNA website for many years.
I think that designers should
embrace the ASHRAE 90.1 stan-
dard! Why? Because the standard
forces designers to think. The days
of the cookie cutter designs are
behind us, which is a good thing.
I’ve sat on the IIDA judging com-
mittees at local, regional and
national levels over the last 10
years and am continually impressed
by the creativity of the designs.The
ones that are the most creative
tend also to have the most energy
effective designs. Mr.Warren states,
“On page 33 of the August issue are
photos of the IIDA recipients. Do any
of those installations comply with the
LPD limits of IECC 2003 or
ASHRAE/IESNA 2004? Will we ever
see such exciting designs again if
designers have to comply with the
severe 90.1 energy budgets?” Maybe
these projects do and maybe they
don’t comply with the IECC or
ASHRAE/IESNA LPD limits. To
imply that designers will not be
able to comply and still be creative
show a simplistic view of lighting
design. Lighting design is not about
just putting footcandles in a space.
Lighting design is about putting
light in space, it is lighting the archi-
tectural space for our visual enjoy-
ment and our functional needs.The
two are not mutually exclusive.
Mr. Warren also states, “As light
sources become more efficacious and
luminaire efficiencies improve, the LPD
allowances get lowered by the code
writers.” The light sources in the
models are hardly cutting edge, in
fact the 90.1 standard LPD’s are
based on standard technology and
basic designs—standard technolo-
gy that includes 70 series T8 lamps
on instant start ballasts, incandes-
cent and pulse start metal halide
lamps. The committee didn’t use
the high-performance T8 with the
www.iesna.org
new high-efficient electronic bal- 1999 standard. The dominate vari- floor for all state energy codes. It’s
lasts (which could have cut many of able that drives the final LPD values open for public review and com-
the LPDs by another 15% or is the IESNA illuminance values. Is ment. It is the standard that our
more). Only a couple of industrial he saying that the illuminance val- society has molded and developed.
models used T5HO. And, 27 of the ues in the 9th Edition Handbook It’s your standard.
126 models used at least one are wrong? If so, the tyranny must
incandescent source.These models run very deep. Michael Lane, LC
are basic design that will not win Embrace the 90.1 standard. It’s Lighting Design Lab
any IIDA awards.That is where the the national standard that is the Redmond,WA
art of lighting design and designers
take over. Computers will never
take over lighting design. They are
good tools, but they will never
replace the creativity of the design-
er.Yes, designers will have to meet
the codes and standards and apply
the art of lighting design to make
architecture come to life. That is
why lighting design has always been
and art and a science.
The process that the 90.1 com-
mittee takes to revise the standard
is open. All addenda to the 90.1
standard must be voted out for
public review by the full 90.1 com-
alera
mittee. After the public review
process the full committee must
vote the addenda out for publica-
tion. Notably, only one comment
(not from Mr. Warren) was
received when we revised the LPD
values in 2002. Finally, the IESNA
and ASHRAE boards must approve
the addenda before it can be pub-
lished.
Although, neither speaks to the
“art of lighting,” I would agree with
Mr. Warren’s points #1 and #2 in
his “Resolving The Dilemma” sec-
tion. Many of his point #3 sugges-
tions were considered in the devel-
opment of the ASHRAE/IESNA
2004 standard.
Towards the end of Mr.Warren’s
column, he states, “We also need
some generous LPD allowances for
display, decorative and accent lighting,
especially for retail, dining and hospi-
tality occupancies.” A close read of
the Space-by-Space Method in the
90.1 standard provides specifically
for what Mr.Warren asks.
In his final statement Mr.Warren
states, “Let’s not use the tyranny of
LPD metrics to determine energy con-
servation.” The LPD values in the
2004 standard were developed
using the same lighting models that
were developed and used for the

December 2004 LD+A 13

EXECUTIVE VICE PRESIDENT REPORTS
THE BOARD OF DIRECTORS/
Membership Q&A session was held
on Tuesday, July 27, 2004, at 3:30 p.m.
at the Tampa Marriott Waterside
Hotel, Tampa, FL. The session was
chaired by Craig Bernecker,
President; the following members of
the Board were present:
William Hanley D. Baum, J. Black, B. Corbett, R. Farrar,
CAE K. Flynn, R. Gibbons, W. Hanley, T.
Kilbourne, D. Lavoie, A. Lewis, P.
Mercier, J. Murdoch, F. Oberkircher,
E. Print, K. Szinger
C. Bernecker introduced the ses-
sion, noting that the Board has
undertaken a visioning process:What
should the IESNA be 10 years from
today? He reiterated his request that
members contact him with their
comments on the mission of the
Society and on the format for future
conferences.
R. Reid (Past President) asked that
the Board comment on the
Centennial. C. Bernecker comment-
ed on the two-day Centennial
Conference (January 9-10, 2006)
which will feature four sessions (edu-
cation, research, technology, and
design and application as well as the
Progress Report, IESNA and IIDA
awards).
H. Lewis (Philadelphia Section)
stated that the 2005 Progress Report
will be issued in print in LD+A as well
as on-line; the normal submittal dates
and procedures will be followed.This
was followed by a brief discussion of
the procedures for submittal of pro-
jects for consideration by the
Progress Report Committee.
Publish in the
newest, and what
promises to
become, the
L E U K O S
THE JOURNAL OF THE ILLUMINATING ENGINEERING SOCIETY OF NORTH AMERICA
most prestigious
lighting journal
in the world . . .
14
M. Eble-Hankins (Great Plains
Section) questioned the forum for
the presentation of papers since the
program for the Centennial
Conference will consist mostly of
invited papers. J. Murdoch (Vice
President, D&A) reported that the
Papers Committee will be issuing a
Call for Papers for presentation at
the 2005 Maritime Conference (June
9-11, 2005, New Brunswick, Canada).
It was also noted that papers could
be submitted for consideration by
the editor of LEUKOS.
J. Graf (Maryland Section) ques-
tioned the future of the Section
Leadership Forum now that the new
schedule for the conference would
no longer coincide with the begin-
ning of the terms of section leaders.
C. Bernecker responded that all
issues for future conference pro-
grams and activities have not yet
been decided.
N. Bleeker (Mid-South Section)
questioned the lack of attendance by
members from Mexico. C. Bernecker
responded that he had just returned
from a meeting in Mexico which
attracted 200 attendees; he stated
that the Society must explore ways
in which to meet the needs of non-
English speaking members.
A lengthy discussion of the Model
Lighting Ordinance, advanced by the
International Dark-Sky Association,
followed. C. English (Georgia Sect-
ion), D. DiLaura (Rocky Mountain
Section), F. Dickey (Piedmont Sect-
ion), M. Hartley (Georgia Section),
T. Barnes (Western Michigan Sect-
For submission information:
David DiLaura, Editor
ddilaura@iesna.org
ion), F. Clements (Tarheel Section), M.
Eble-Hankins (Great Lakes Section),
M. Lane (Puget Sound Section), and J.
Selander (Michigan Section) ad-
dressed various aspects of the need
for an IESNA response to the MLO.
Note was made of comments sub-
mitted by both IESNA members and
NEMA during the comment period;
most have not yet been included. By
the end of the session it was decided
that a task force be formed and that
it be charged to review the MLO and
comments previously submitted as
well as the outdoor recommenda-
tions issued by the California Energy
Commission and the outdoor light-
ing energy limits stipulated in
ANSI/ASHRAE/IESNA Standard
90.1. The task force will develop a
Society position statement, one
which will provide, should there be
disagreement with the MLO, a sound
technical basis for areas of disagree-
ment.
A. Lewis (Senior Vice President)
noted that the Society needs to be
less parochial and that while the
Society has raised the awareness of
quality issues within the lighting com-
munity, it must address such issues to
a wider audience.
T. Scott (North Texas Section)
mentioned that the 1997 strategic
planning sessions included a broader
range of members than just Board
members, and he recommended that
such a procedure be followed in the
new strategic planning initiative.
The meeting concluded at 4:30
p.m.
www.iesna.org
REGIONAL VOICES
THIS IS MY THIRD YEAR
serving as regional vice president
for the Northwest Region. The tra-
ditional final column from a retiring
RVP usually consists of a lot of thank
yous and reminiscing. Although I
have a lot of people to thank for
making this time a memorable one, I
Paul Mercier, would rather focus on a topic that
Northwest RVP seems to have been a commonality
within the Society’s regions, sections
and members.
The topic is, who we are and how
we relate to the Society’s adminis-
trative office, located in New York
City.
First I would like to share a story
with you about a recent REC
Meeting that took place in our
region. (Yes, it is true; once again I am
letting you know that the REC is a
great place to share ideas and plan
programs within your region.) We
were discussing the section and
regional programs associated with
gigahertz
optic
16
the upcoming centennial of the
IESNA. A question came to the
table that provided us with the
opportunity to define our role in the
Society and the centennial for the
upcoming year.
The question was...wait for
it...yes, you have all heard it
before...“What is the Society going
to give us to support this new initia-
tive?” This question, posed by a lot of
sections and individual members
over the years, raises a more funda-
mental concern.What is the Society
and what does it mean to the light-
ing industry as a whole?
Defining Moment
A Society can be defined as fol-
lows:
● A group of Individuals broadly
distinguished from other groups by
mutual interests, participation in
characteristic relationships, shared
institutions and a common culture.
● The institutions and culture of
a distinct self-perpetuating group.
● An organization or association
of persons engaged in a common
profession, activity or interest.
Based on this definition, I would
submit to you that, in fact, our
Society (IESNA) is made up of each
of our individual members and that
it is through our organization that
we are advancing the ideas and prac-
tices of lighting within our Society
and within society in general.
The enthusiasm and passion of
each individual member over the
past 100 years is what has made the
IESNA what it is today. That same
enthusiasm is required to carry us
through the next 100 years.
I believe our administrative team
provides us with a foundation to
manage our programs and acts as a
communication hub for all members
to address important issues. They
offer a wealth of information and we
rely on them to keep the Society
moving forward. The conceptual
ideas and development of programs
come from the grass roots of the
Society—the members. The admin-
istrative team provides us with the
structure that is required to coordi-
nate the efforts of such a large group
and is invaluable for both its guid-
Who Are We?
ance and hard work.This administra-
tion also serves many organizations,
outside our own, to make sure we
keep up to date with other groups
that influence the world of lighting.
Our committees are volunteers;
our education programs and how
we present them to our members
are on a volunteer basis. A majority
of the topics for our publications
have come from IESNA members.
Our structure is member, region,
Society. I would submit to you that
as an individual member you have
the power to influence the path of
this Society and you are able to pro-
vide direction and guidance to the
Society as a whole. We are the
IESNA.
The world is a changing place and
we need to react to the changes
swiftly. Individuals and volunteers are
our strength. My response to those
who ask what we will get from the
Society is: “We are the Society and
what we achieve is based on your
individual participation, because the
greater your participation, the
greater the value.”
Since my involvement with the
Society as a member, section officer,
regional vice president and board
member, I have received tremen-
dous value and return on my invest-
ment. When you think of the
Society’s upcoming birthday, cele-
brate the history of the individual
members of the IESNA and their
accomplishments and look to the
future for new and exciting ways to
contribute.
I thank the volunteers and mem-
bers of the Society, and especially
the Northwest Region and Chinook
Section members, for helping me
find my value within the society of
the IESNA.
For back
issues of
LD+A, call
Leslie Prestia
at (212)
248-5000, ext.111.
www.iesna.org
RESEARCH MATTERS
WE’VE READ A LOT IN LD+A
over the past few years about how
we need to consider both rods and
cones in many responses to light.
Pupil size, mesopic (nighttime) vision
and brightness are just a few of
these responses. Current lighting
specifications, recall, are given entire-
John D. Bullough ly in terms of photopic (cone-based)
Lighting Research sensitivity. Considering rod-based
Center, Rensselaer sensitivity as well adds complexity
Polytechnic Institute but can also provide more accuracy
at predicting responses to light.Well,
things are about to get even more
complex. Move over, rods and cones,
and make some room for a new
member of the family!
Our understanding of the human
visual system got a lot more compli-
cated than it already was after it was
shown that the mammalian retina
contains not only rods and cones,
but a third type of photoreceptor—
known as intrinsically photosensitive
retinal ganglion cells (abbreviated
ipRGC).1,2 Retinal ganglion cells are
the neurons that carry information
from the retina in the eye to the
parts of brain that process it for
vision (and for the circadian system
as well as other responses).
Is It A Photoreceptor, A
Ganglion Cell, Or Both?
It was long thought that the reti-
nal ganglion cells simply carry signals
from the eye to the brain. The dis-
covery that some of the retinal gan-
glion cells respond directly to light
exposure (and therefore are pho-
toreceptors), in addition to their tra-
ditional role as signal carriers, is sig-
nificant because it might help explain
spectral sensitivity for a broad range
of responses to light. Importantly,
these responses include, but are not
limited to, circadian rhythms.
However, circadian rhythms are
probably the area of most of the
ongoing research on these unique
cells, especially because of findings
that special strains of mice genetical-
ly bred to have no rods or cones still
can entrain their activity to a light-
dark cycle.3
The ipRGCs contain a chemical,
called melanopsin, that is similar to
the photopigments in the rods and
cones.1,2 The jury is still out as far as
whether melanopsin is indeed the
18
Do Rods And Cones Need To Move Over?
photopigment responsible for the
sensitivity of ipRGCs to light,4 but it
is certainly the leading candidate. At
any rate, the presence of melanopsin
in ipRGCs (but not in other retinal
ganglion cells) is a useful way for
researchers to identify them in the
retina.
What Are The
Characteristics Of ipRGCs?
Responses to light by the ipRGCs
have several characteristics:1,2
• They are very slow. Light stimu-
lation takes around 10 seconds to
cause the ipRGCs to respond.1,2 This
is practically an eternity, in compari-
son to visual rod and cone respons-
es, which are on the order of mil-
liseconds.
• They have a peak spectral sensi-
tivity near 480 nm (“blue” light),
both in rodents1,2 and in macaque
monkeys,5 a species with a retina
that is virtually identical to that of
humans.
• They form a wide, diffuse net.
Unlike cones, numbering in the mil-
lions, and rods, numbering over 100
million, there seem to be just a few
thousand melanopsin-containing
retinal ganglion cells in the macaque
monkey6 and human,7 spaced
throughout the retina.
These characteristics all point
toward ipRGCs being useful for
broadly detecting light.They are too
widely spread out to be as useful as
cones for identifying small details.
They are too slow to be of much
help in rapidly responding to poten-
tial threats and hazards in the envi-
ronment. Their sensitivity in the
“blue” spectral region matches the
spectral distribution of the sky8 quite
well. Their sluggishness makes them
insensitive to rapid changes in ambi-
ent lighting (such as lightning). In
other words, they seem to be ideal
“day or night” detectors.
What Might ipRGCs Do?
The characteristics of ipRGCs
listed above are all quite consistent
with the role that these cells are
now known to play in helping regu-
late circadian rhythms in response
to light. After all, what better infor-
mation might the circadian system
need than whether it is daytime or
nighttime? And indeed, many, per-
haps most, ipRGCs extend to the
part of the brain that seems to be
the “master clock” of the circadian
system.9,10 But they also project to
parts of the brain that control pupil
size and some photophobic
responses—not only in rodents 9,10
but also in the macaque monkey11
and probably in humans.
In other words, pupil size is not
only controlled by a combination of
rods and cones,12 but also in part by
ipRGCs.This has been shown direct-
ly in macaque monkeys,13 which
means it is almost certainly the case
in humans. Once the responses of
rods and cones were blocked in the
macaque monkey retina, the pupil
still continued to respond to light
(although with its very slow
response time) with a peak spectral
sensitivity near 480 nm.13 The spec-
tral sensitivity of the pupil response
in the rodless, coneless genetic
strains of mice described above also
peaks near 480 nm.14
Another response in humans that
has shown to have short-wave-
length, “blue” sensitivity is the dis-
comfort glare response. Recall the
controversy brought on by those
“bluish” high intensity discharge
headlamps that are consistently
found to result in more discomfort
than conventional halogen head-
lamps, even when they have the
same luminous intensity.15,16 Studies
that have compared discomfort in
response to saturated colored lights
also show increased short-wave-
length sensitivity.17,18 While it is still
quite early to speculate, a role of
ipRGCs in discomfort responses
seems to be feasible, although this
needs to be rectified with their slow
response times.
What Does It All Mean?
It has been shown, at least in
rodents, that ipRGCs project to just
about every part of the brain that
the rest of the retinal ganglion cells
do.19 On top of this, cones in the
human retina that contain not one
of the three conventional cone pho-
topigments, but instead, melanopsin,
have recently been identified.7 We
don’t yet know if these cones have
the slow response times of ipRGCs
www.iesna.org
or respond more quickly like the and central targets of melanopsin 8. Rea MS (ed.). 2000. IESNA
other cones. What these findings immunostained cells. Invest. Lighting Handbook (9th ed.), New
mean—that the responses of Ophthalmol. Vis. Sci. 44: E-Abstract York, NY: Illuminating Engineering
ipRGCs and perhaps of these new 5182. Society of North America.
melanopsin-containing cones (espe- 7. Cooper HM, Dkhissi-Benyahya 9. Sollars PJ, Smeraski CA,
cially if these respond relatively O, Rieux C, Hut R, De Vanssay W. Kaufman JD, Ogilvie MD, Provencio I,
quickly to light) can affect not only 2003. A new cone in human retina. Pickard GE. 2003. Melanopsin and
the circadian system, but many Invest. Ophthalmol. Vis. Sci. 44: E- non-melanopsin expressing retinal
aspects of visual processing—is pro- Abstract 2857. ganglion cells innervate the hypo-
found, and could impact lighting
practice one day.
As lighting practitioners and
researchers, we have been trained to
think of the retinal photoreceptors
as being “just” the rods and cones.
We now realize that they have
cousins (and that the cones seem to
have another sibling). Who knows
what else we have yet to discover
about the way we process and inter-
pret the lighted environment? It’s
truly an exciting time to be working
in the field of lighting.

References
sternberg
1. Berson DM, Dunn FA,Takao M.
2002. Phototransduction by retinal
ganglion cells that set the circadian
clock. Science 295: 1070-1073.
2. Hattar S, Liao HW, Takao M,
Berson DM, Yau KW. 2002.
Melanopsin-containing retinal gan-
glion cells: architecture, projections,
and intrinsic photosensitivity. Science
295: 1065-1070.
3. Lucas RJ, Freedman MS, Munoz
M, Garcia-Fernandez JM, Foster RG.
1999. Regulation of the mammalian
pineal by non-rod, non-cone, ocular
photoreceptors. Science 284: 505-
507.
4. Brown RL, Robinson PR. 2001.
Melanopsin—shedding light on the
elusive circadian photopigment.
Chronobiol. Int. 21: 189-204.
5. Smith VC, Pokorny J, Gamlin PD,
Packer OS, Peterson BB, Dacey DM.
2003. Functional architecture of the
photoreceptive ganglion cell in pri-
mate retina: Spectral sensitivity and
dynamics of the intrinsic response.
Invest. Ophthalmol. Vis. Sci. 44: E-
Abstract 5185.
6. Peterson BB, Liao H, Dacey
DM,Yau K, Gamlin PD, Robinson FR,
Marshak DW. 2003. Functional archi-
tecture of the photoreceptive gan-
glion cell in primate retina:
Morphology, mosaic organization

December 2004 LD+A 19

RESEARCH MATTERS
thalamic suprachiasmatic nucleus. Vis.
Neurosci. 20: 601-610.
10. Belenky MA, Smeraski CA,
Provencio I, Sollars PJ, Pickard GE.
2003. Melanopsin retinal ganglion
cells receive bipolar and amacrine cell
synapses. J. Comp. Neurol. 460: 380-
393.
11. Dacey DM, Gamlin PD, Smith
light lab
20
VC, Pokorny J, Packer OS, Liao H,
Peterson BB, Robinson FR, Yau K.
2003. Functional architecture of the
photoreceptive ganglion cell in pri-
mate retina: Intrinsic photosensitivity,
S-cone spectral opponency and irra-
diance coding. Invest. Ophthalmol. Vis.
Sci. 44: E-Abstract 3231.
12. Berman SM, Jewett DJ, Bingham
LR, Nahass RM, Perry F, Fein G. 1987.
Pupillary size differences under incan-
descent and high pressure sodium
lamps. J. Illum. Eng. Soc. 16: 3-20.
13. Gamlin PD, Smith VC, Dacey
DM, Pokorny J, McDougal DH. 2004.
melanopsin-containing retinal gan-
glion cells drive the pupillary light
reflex in the primate. Invest.
Ophthalmol. Vis. Sci. 45: E-Abstract
2262.
14. Lucas RJ, Douglas RH, Foster
RG. 2001. Characterization of an ocu-
lar photopigment capable of driving
pupillary constriction in mice. Nat.
Neurosci. 4: 621-626.
15. Bullough JD, Fu Z,Van Derlofske
J. 2002. Discomfort and disability glare
from halogen and HID headlamp sys-
tems. In Advanced Lighting
Technology for Vehicles, SP-1668 (pp.
1-5). Warrendale, PA: Society of
Automotive Engineers.
16. Flannagan MJ. 1999. Subjective
and Objective Aspects of Headlamp
Glare: Effects of Size and Spectral
Power Distribution, UMTRI-99-36.
Ann Arbor, MI: University of Michigan.
17. Stringham JM, Fuld K, Wenzel
AJ. 2003.Action spectrum for photo-
phobia. J. Opt. Soc. Am. A 20: 1852-
1858.
18. Flannagan MJ, Sivak M, Ensing M,
Simmons CJ. 1989. Effect of
Wavelength on Discomfort Glare
from Monochromatic Sources,
UMTRI-89-30. Ann Arbor, MI:
University of Michigan.
19. Hattar S, Kumar M,Tung J, Park
A,Tong P, Berson DM,Yau K-W. 2004.
Diverse brain targets of melanopsin-
expressing retinal ganglion cells. Invest.
Ophthalmol.Vis. Sci. 45: E-Abstract 660.
REPRINTS
OR E-PRINTS
LD+A articles are available for pur-
chase as high-quality, professionally
produced reprints or e-prints.
Contact: Beth Ann Rocheleau
Sheridan Reprints
803-359-4578 (Phone)
803-951-2787 (Fax)
www.iesna.org
ENERGY ADVISOR
EARLIER THIS YEAR (LD+A
March 2004), I wrote about the
California Energy Commission’s
(CEC) Public Interest Energy
Research (PIER) project in which it
experimented with lighting four class-
rooms in each of 12 California
schools.The design used two or three
Willard L.Warren, rows of 24 ft long pendent direct/indi-
PE, LC, FIESNA rect three-lamp luminaires; two lamps
up and one lamp down—which could
be dimmed for audio/visual (A/V) pre-
sentations.The classrooms had occu-
pancy sensors and daylight harvesting
to conserve energy. Monitoring equip-
ment which measured wattage con-
sumed on a minute-by-minute basis
indicated that the controls reduced
the lighting load considerably over the
course of a typical day.
Now the Los Angeles Unified
School District (LAUSD), Gregg D.
Ander, FAIA and Christine Magar
Grace, AIA, of Southern California
Edison (SCE) have gone one step fur-
ther. They engaged Nancy Clanton,
PE, of Clanton Engineering, and Jim
Benya, PE, of Benya Lighting Design, to
develop the “SCE Classroom Lighting
22
Guidelines,” a forward-looking docu-
ment that now governs classroom
lighting in the LAUSD.
These were the objectives:
1. All classrooms are to have a
dependable component of daylight
and no direct sunlight.
2. All schools are to be oriented
within 15 deg of North/South, so that
blinds do not have to be drawn to
block sunlight and with light shelves
installed on south facing windows to
reduce sky and sun brightness and
reflect daylight deeper into the space.
3. Direct/indirect pendent (24 inch-
es) luminaires are used that reduce
glare and provide volumetric bright-
ness on walls, ceiling and on the white
(front) board.
4. A wall wash unit is installed to
light the white (front) board.
5. Only two rows, rather than
three rows of luminaires, are used to
reduce direct and reflected glare.
When more light is needed, a third
lamp and/or 1.2 BF high power elec-
tronic ballasts is used.
6. High reflectance interior finishes
of 85 percent ceilings, 65 percent walls
and 20 percent floor are specified.
7. Where cost effective, skylights
are installed, with a reflector below
them, above the interior walls on the
top floor and light pipes, to deliver
daylight to the lower floors.
8. 30 fc must be maintained in
classrooms, 40-50 fc in science labs,
art and drafting classrooms, 15 fc, ver-
tically, on white boards and 10-15 fc
on all other walls.
9. Dimming or switching controls
at the teacher’s station reduce the
room illuminance to 10 to 20 fc for
a/v presentations.
10. A visual environment in a high
performance school design is created
with reduced glare, improved com-
fort, and a lighting load under 0.90 w
per square ft; 10 percent below the
California title 24 classroom LPD
energy limit.
Clanton and Benya specified basic
layouts for the two types of class-
rooms, all of which are 32 x 30 ft with
10 ft high ceilings.
Classrooms Types
Ordinary classrooms requiring 30
www.iesna.org
fc had two, 20 ft long runs of contin- about the benefits of daylight in learn- or better, than any conventional
uous direct (10 percent) / indirect (90 ing and provides a visual connection design I’ve ever seen.
percent) luminaires, using high perfor- with the outside scene. It capitalizes In physics there is an equation for
mance lamps and premium electronic on the studies of Lisa Heschong that the “coefficient of restitution.”
1.2 BF electronic ballasts. A 12 ft daylight and “view” improves student California “bounced back” by reach-
long, single lamp, wall wash unit with a learning. It provides daylight harvest- ing for the sky!
low output, 0.74 BF electronic ballast ing, bi-level lighting, dimming, occu- Willard L. Warren, PE, LC, FIESNA, is
is used for lighting the white board. pancy sensing, and most of all, imagi- the principal of Willard L. Warren
The classrooms requiring 50 fc use nation. And it works for one story as Associates, a consulting firm serving
two 24 ft long continuous runs of well as multi-storied school buildings industry, government and utility clients in
up/down luminaires with the same 12 and has life cycle costs that are equal, lighting and energy conservation.
ft long wall wash unit illuminating the
white board.
The luminaire switching arrange-
ment is very clever. In order to
achieve a uniform appearance when
the daylight contribution is changing,
all lamps are wired in tandem, so that
all the window facing lamps are
switched together and all the lamps
facing the inside wall are switched
together to respond smoothly while
harvesting daylight. A combination of
two- and three-lamp ballasts are used
to avoid single lamp units. All lumi-
naires must be pre-wired and pre-
lamped to reduce installation costs.
alp
There are as many as five switches in
the room. One for each row of lumi-
naires is located at the room
entrance and a white board switch
and A/V mode switch is located at the
teacher’s station. A dual technology
occupancy sensor automatically turns
“lights off” when no one is present.
Two alternate layouts are also
shown in the guidelines with a com-
parative analysis; one is for the PIER
project luminaire, mentioned initially in
this column and the other alternate is
for a totally indirect system using single
lamp T5HO lamp pendent luminaires
with electronic dimming ballasts.
A life cycle cost comparison is also
given in the guidelines for the three
schemes, with the two-row preferred
solution showing a much lower first
cost. The guidelines also include all
wiring diagrams for switching control,
as well as computer printouts of the
daylight and electric lighting illumi-
nance levels over the active teaching
area of the room.This 56-page guide-
line manual, plus a set of lighting specs
for the bidding document, is very use-
ful.You can get a set by logging onto
<sce.com/classroomlighting>.

Smart Design in L.A.

The LAUSD design takes advan-
tage of everything we’ve learned
December 2004 LD+A 23
RETROFIT & UPGRADES
IT NEVER CEASES TO
amaze how much office workers
can dislike direct troffers. During
many of my seminars, I discuss
what is often seen in offices light-
ed by direct troffers. Office work-
ers put cardboard over their com-
puter screens, wear baseball hats,
Stan Walerczyk yank out lamps and/or bring in six-
ft tall torchieres and turn off the
ceiling lights. After going over this
in a seminar, one attendee said
“that is nothing” and, reminiscent
of “Alice’s Restaurant,” explained
in five-part harmony about one
worker that hated the light from
direct troffers so much that he
erected the tent shown
(Figure 1). That worker also in-
stalled Styrofoam in the tent to
reduce noise. This is the kind of
person that should work out of
the home.
Best Practice-Revisited
Earlier this year, I did some con-
sulting for Walt and Don Leaman,
principals of Nu-Tek Lighting
Solutions, a design and build retro-
fit contractor. The project was the
Philip Burton Federal Office
Building in San Francisco. Since this
building has been the test bed of
several dimming tests, building man-
agement originally wanted dimming
ballasts for daylight harvesting and
peak load shedding. After samples
were installed and cost and wattage
documentation was presented,
building management approved
replacing existing 2x4 18 cell
3F32T8/700 troffers with rows of
suspended indirects in open offices
and basket kits in individual offices,
both with extra efficient fixed BF
ballasts and high performance T8s.
One reason that the suspended
FIGURE 1
24
indirects can save so much wattage
in this application is that they do
not have to be placed over circula-
tion aisles. With the .7 to .8 watts
per sq ft power density, dimming
ballasts and controls were not con-
sidered cost effective.
Retrofit Heaven
How can you make a retrofitter
drool? Show them projects with
large quantities of the following fix-
tures with long burn times, less
than six-month payback and great
long term benefits. Solutions
include:
• 2x4 6F34T12 lensed troffers
(yes, these really exist)
• Eight ft strip fixtures with four
F96T12VHOs in narrow body fix-
tures
• Saturn pendant fixtures with
300-W, or even better, 500-W
incandescent bulb
• 1000-W mercury vapor in any-
thing
I wish all of my retrofit projects
had these types of fixtures, because
the payback is in months instead of
years, and the long term benefits
are outstanding.
Another retrofit suggestion: be
creative. In many retrofit projects
the most creative part can be
choosing the lamp Kelvin temper-
ature. On some other projects I
have been able to replace troffers
with suspended indirect layout.
But I recently had the opportunity
to really be creative and have
some fun.
Ben Erpelding from San Diego
Regional Energy Office hired me to
help him at the San Diego Zoo.
One store has a 20-ft-high horizon-
tal steel octagon with about six 39-
W CMH PAR lamps on each five-ft
leg (Figure 2). Since none of the
merchandise in this area requires
lighting focus and sparkle, these
expensive and only 9000 hour
rated lamps are not necessary.
Access to these lamps is difficult
and expensive.
I came up with the idea of
removing all of the CMH fixtures
and suspending a four-ft T8 gull
wing fixture from each side at
stepped heights. I also recommend-
ed that the zoo’s art department
make bird or dinosaur heads for
each gull wing fixture.Additionally, I
specified an inverted hooded indus-
trial on top of each octagon leg that
would automatically turn off when
sufficient light from recommended
skylights. Even if the zoo does not
proceed on my recommendations,
it was enjoyable being creative.
Tube Guards For T8s
Other than reducing light output,
I used to have no reservations
putting tube guards on T8 lamps.
Now after hearing about some
problems and doing some research,
I would like to caution people
about using tube guards on T8s dri-
ven by instant start ballasts.The fol-
lowing may be of some help, but
please understand, that my knowl-
edge is quite limited on this subject.
One tube guard supplier states in
FIGURE 2
its cut sheet, “do not use tube
guards with T8s unless magnetic or
program start electronic ballasts
are used.”
Fixtures/lamp-holders/lamps
have a tolerance for manufacture
and operation. The lamps have a
.050 tolerance on the length of the
pins and if the spacing is not correct
then the ends get superheated and
the polyproplyene black end caps
start to melt or catch on fire when
T8s are driven by instant start bal-
lasts. Some tube guard end caps
expose the entire end of the lamp
so that the lamp pins fit into the
lamp-holders as tightly as possible.
The arc voltage is so high with
instant start electronic ballasts that
the T8 lamp continues to operate
even when the emitter is depleted.
When the emitter is depleted,
asymmetric voltage occurs across
the lamp. This may cause DC cur-
www.iesna.org
RETROFIT & UPGRADES
rent to flow back onto the emitter-
less cathode, which may cause the
stem press assembly to heat up.
The whole one end of the lamp
gets so hot that the stem press
assembly and lead wires melt, and
the one end of the lamp gets black
(single black end). Because NEMA
mandated that only T6 and smaller
lamp ballasts require an end-of-life
detection circuit, the T8 was
excluded; therefore, most T8
instant start electronic ballasts do
not have an end-of-life detection
circuit to shut the lamp off auto-
matically when emitter is depleted.
NEMA has a very good docu-
ment on this issue, named
“Compatibility of Add-on Tube
Guards with T-8 Fluorescent Lamps
Operating on High Frequency
Electronic Ballasts.”
One tube guard supplier recom-
mends and provides wire mesh (like
mosquito screen) in the end caps to
dissipate heat.
Last Call
This marks the end of my regular
quarterly column for LD+A. (I will
probably submit articles down the
road, but not on a regular basis.)
Not only have I learned a lot
researching the quarterly columns
and other articles, it has also been
rewarding getting feedback from
In many retrofit
projects the most
creative part can
be choosing the
lamp Kelvin
temperature
readers and interacting with the
various editors.Thanks to all manu-
facturers, designers, retrofitters and
editors that have helped me.
To close, I’d like to share the fol-
lowing comment from reader Peter
Brown, a member of the IESNA
Energy Management Committee. It
illustrates why it was worth so
much time writing this column over
the past few years. “Just read your
article in September LD+A. Stan,
you will just have to lose this com-
mon sense approach to lighting.
How are all the companies that
build a product, and then look for a
market, supposed to survive?
Giving all the information just isn’t
done - just the numbers that make
their product look good. Keep up
the good work!”
Thanks...and happy trails!
Stan Walerczyk, LC, is principal of
Lighting Wizards. He is a member of
IESNA’s Energy Management
Committee and Retrofit/Upgrade
Subcommittee. You can email him at
stan@lightingwizards.com. You may
find very useful information at
www.lightingwizards.com.

Quiz-A-Roni
I start my seminar entitled,“Reality Check - Technologies That Save More Or Less Than Expected” with
the following 12 questions:
1. Dimming ballasts are typically a good investment in
T F
applications that include daylighting and peak load shedding.
2. T5s, which is new technology, are more efficacious (lumens/watt)
T F
than even high performance T8s, which is older technology.
3. New high performance 25 and 28-W F32T8s are more efficacious
T F
than high performance 32-W F32T8s.
4. Energy saving F32T8s typically save the difference in wattage compared
T F
to full wattage 32-W F32T8s. For example, a 28-W lamp saves four watts.
5. Reflectors typically provide substantial benefit in office
T F
delamping applications.
6. Retrofitting inboard/outboard switched 3F32T12 troffers in individual offices
T F
with 2F32T8s and standard BF ballast tyically saves considerable KwH.
7. Occupancy sensors almost always save substantial KwH in private offices
T F
and elementary school classrooms.
8. High/low magnetically ballasted HID systems save about _ the wattage when
T F
the light level is at 50 percent low mode.
9. Voltage reduction systems are good to use with most instant start
T F
electronic ballasts and T8s.
10. 400-W HPS is more efficacious than 400-W probe start and pulse start MH. T F
11. Retrofitting existing 2x4 recessed troffers typically provides a better comprehensive
T F
financial return than redesigning and installing rows of suspended indirect fixtures.
12. Environmentally friendly' lamps typically have significantly less mercury than
T F
their standard equivalents.
Which ones do you think are true and false? As you can probably guess, based on my previous articles, I consider all to be false. If
you disagree, email me.

26 www.iesna.org
CAREERS & HIRING
THIS MONTH,WE RETURN
to the Q&A format used in August,
LD+A. Again, these are actual ques-
tions from both employers and can-
didates. If you have a question about
the job market, hiring trends, the
interviewing process or recruiters
and search firms, drop a line to
Paul Pompeo Question@pompeo.com. No
names will be used to protect your
confidentiality.
Q
“How much is really done to
check the backgrounds of candi-
dates? It seems like in-depth back-
ground checks are not done as
much as they were in the past.”—
National Accounts Director, New
Jersey
A
Pompeo: As business and life
seem to move at a faster rate, some
things fall by the wayside. Reference
checks can be one of them, and, as
you might expect, the electrical and
lighting industry is no exception to
this trend.
Another reason is that, in some
states (such as California), new laws
28
now require us to share the results
of reference checks with the candi-
dates in question. Yes, you heard
that right! Obviously, for a positive
reference this poses few problems.
However, in the case of a negative
or even “so-so” reference, the
potential ramifications—personal,
legal, even safety—are pretty obvi-
ous.
In addition, some human resource
departments, apparently for what
they feel are legal reasons, will only
permit a “name,rank and serial num-
ber”-type reference, which may
indeed help their respective compa-
nies, but, unfortunately could harm
the potential employers by denying
them information that could affect
the hiring decision. Those human
resources managers setting these
“no reference check” policies may
be well served to remember that
this issue cuts both ways; their own
company may in fact be hindered
from getting needed information
(negative or positive) about a poten-
tial hire from other companies who
adopt the same no-reference policy.
iota
Q & A Session
Q “Do you see the employment
market opening up? It seemed kind
of flat the past couple of years.
Here we’ve hired and recently cre-
ated two new positions. Is that
industry-wide, or nationwide in
other industries? —Orlando,FL
A
Pompeo: Obviously, no one
knows for sure.Anytime we’re in an
election year (see the following
question), as well as in the first year
or two following it, there can be
some volatility. Having said that, my
feeling is the market has definitely
opened up over the past 12 to 18
months. I’ll leave statistics to the
statisticians and economists.
However, just from the numbers of
company searches, openings due to
a job being created versus someone
who has left the company and the
mood of hiring managers, I’d say
business has been on an upswing
since early last year.
Q
“I’m curious: In an election year,
does hiring get put off until the next
year?”— Chicago,IL
www.iesna.org
A Pompeo: Excuse me while I grab
my 10-foot pole. I will say that in
some past elections, we have
observed cautiousness from
employers in the months just prior
to a presidential election as well as
sometimes through the first few
months of any new administration,
Republican or Democrat. We
haven’t noticed any cautiousness
from employers up to this point in
this election season. If we do see
any caution on the behalf of
employers, I believe at this point
that war or terrorism is more like-
ly to be the cause.
Q “What kind of weight does the
LC hold? A lot of people with LCs
portray themselves as lighting con-
sultants,which they’re not (it stands
for ‘Lighting Certified’).This seems to
upset some real specifiers.” —
Regional Sales Vice President (light-
ing fixtures),Wisconsin
A Pompeo: As far as “holding
weight” goes, it depends who
you’re talking about. As far as peo-
ple with LCs upsetting specifiers,
that’s a new one on me—I’ve never
heard of that. I haven’t heard any
sort of negative reaction towards
someone with an LC; if anything, I
generally feel it’s viewed as a posi-
tive in the field. On the other hand,
in all my years of recruiting, I’ve
never had an employer request an
LC in the job specs for a position.
However, can it be a plus in a sales
(especially specification sales) or
sales management role? In a close
race, absolutely.
Q
“I’m a lighting designer and am
interviewing.I’ve been on more than
one interview during which I’ve
been asked for advice on lighting or
asked to help solve a lighting prob-
lem.This is in an interview. I’m not
even hired yet! And this is what I get
paid for as a consultant. How do I
handle this when it comes up during
interviews?”— Lighting and Design
Consultant,California
A
Pompeo: It’s one thing to be asked
a question during an interview to
test your knowledge related to the
functions of the position for which
December 2004 LD+A
you’re interviewing. It’s another to
be asked to actually work for free,
and it sounds like your experiences
may touch that fine line. A little
“brain drain” may occur in inter-
views occasionally, and usually it
doesn’t get excessive or touch on
inappropriate (for example, com-
petitive information) types of topics.
As long as you know the company
you’re interviewing with has a spe-
cific position to fill, I would probably
take its first “scenario” question at
face value and answer it.
If you truly feel like the “hypo-
thetical” lighting problem-solving
questions are not job-related and
the interviewer might just be look-
ing for free advice, then you might
politely reply as follows:“I am really
interested in working with you as a
client or as an employee. I’m get-
ting the feeling you may need my
assistance with a lighting problem,
or is this just a standard question
you ask during interviews?” This
will nicely and subtly “call” them on
it, without causing the interviewer
to be upset or defensive. If the
company says it is a lighting prob-
lem, just say you would be glad to
assist, but would like to make a sep-
arate appointment with them, like
you do with all your clients. If the
company is just trying to get free
advice and is not really interested in
hiring you, then you might as well
clear the air now and save every-
one’s time.
Paul Pompeo is principal with the
Pompeo Group, Albuquerque, NM, a
leading executive recruiting firm in the
lighting and electrical industry. Pompeo
spent 16 years with Search West Inc.
before starting his own firm in March
2003. He can be reached at
paul@pompeo.com or www.pompeo.
com.
SUBMIT your event to
Calendar of Events
LD+A
120 Wall Street, 17th Floor,
NY, NY 10005-4001.
29
 INDUSTRY UPDATES

U s e o f D i m m i n g S y s t e m s P r ov i d e s F l e x i b i l i t y a n d E n e r g y S av i n g s , L CA S u r vey F i n d s

A new research study suggests that the use of dimming
systems is steadily increasing, largely due to lighting indus-
try participants specifying and recommending dimming sys-
tems to their clients primarily to provide the benefits of
flexibility and energy savings in their projects.The research
further suggests that dimming is being used in a broader
range of spaces and applications, such as personal control
and integration with other building systems.
Sponsored by the Lighting Controls Association, the
“2004-2005 Dimming Study” explores attitudes in the spec-
ification, distribution and contractor sales channel through
a survey of architects, lighting designers, engineers, electrical
and lighting distributors, and electrical contractors. The
study was published by ZING Communications, Inc.
Lighting industry participants largely agree that dimming
is perceived as a “green” technology, that daylighting/day-
light harvesting is becoming more important as an energy-
saving strategy and that today’s manufacturers offer “good
products and services.”
The three most significant barriers to specification and
adoption of dimming systems, say respondents, are cost,
complexity of design and installation, and variation in dim-
ming performance by manufacturer and ballast type. A
majority of market participants anticipate that they would
experience higher sales if these barriers were removed.
The research suggests that distributors, in particular, antic-
ipate that their sales would at least double.
• Influence. Overall, engineers and, to a somewhat lesser
extent, lighting designers are most influential in selection of
most types of dimming products, although there is an indica-
tion that electrical contractors are highly influential in selection.
• Specifiers. Lighting designer and architect specification
volume is devoted primarily to commercial spaces such as
offices, retail, etc., while engineer specification volume is
devoted primarily to institutional spaces such as govern-
ment, schools, hospitals, etc. Lighting designers and architects
are seeing specification dollars most often dedicated to dim-
ming of incandescent lamps, while engineers are seeing spec-
ification dollars most often dedicated to dimming of fluores-
cent lamps. Further, lighting designers and engineers most
often specify preset-type controls for their dimming sys-
tems, while architects most often specify non-preset-type
controls. Lighting designers, architects and engineers most
often specify dimming systems that are not integrated with
other types of building systems such as occupancy sensors,
HVAC, security/proximity, telephone/communications and
PC/networks. Finally, lighting designer, architect and engineer
respondents regard budget/cost, delivery/availability and
contractor preference for a substituted system to be the
most significant reasons the actual installed dimming system
may differ from that of the original specification intent.
• Distributors. While a majority of distributor respon-
dents have a lighting specialist on staff, a minority has a con-
trols specialist on staff, and distributors may need more
education to sell most effectively. More than one-third of
distributor respondents’ customers, on average, have pur-
chased dimming equipment in the past year. Distributors
most often quote materials for a dimming product quota-
tion through manufacturer-supplied bills of material and
price. Respondents typically order dimming ballasts and
controls from the manufacturer rather than keep them in
stock.And they are most often able to satisfy requests with
off-the-shelf items versus dimming components that must
be customized for special application needs.
• Electrical Contractors. Electrical contractor respon-
dents install dimming systems in an average of about one-
fourth of their projects. They report being called back by
the customer to fix an operating problem with the dimming
system in about one in 10 projects, slightly higher than the
average for a lighting project. In addition, respondents
believe they do not very often substitute to the original
dimming system specifications.When they do, they say it is
primarily because of budget/cost and positive experience
with the substituted system, presumably due to its being
easier to install (higher profit on the job) or demonstrating
a high degree of reliability (less likelihood of a callback).
“The research suggests that dimming systems are highly
desirable,” says Craig DiLouie, principal of ZING
Communications.“However, they remain a costly and com-
plex option for some industry participants. To accelerate
adoption, manufacturers should continue simplifying dim-
ming systems and even further promote the interoperabil-
ity of different equipment, while continuing to educate the
sales channel and end-users about the operation and ben-
efits of dimming systems.”
The survey was distributed to 4317 industry participants
with a 6.7 percent response. It includes 15 pages of method-
ology and analysis, about 160 pages of data tables and graphs,
and about 20 pages of verbatim responses. For more infor-
mation,go to the website www.lightsearch.com/lightnow/reports

Betterbricks Daylighting Lab Earns Governor’s Award Publish in the newest, and what promises to become, the
The BetterBricks Daylighting Lab was one of six organizations in Washington state to be honored with the most prestigious lighting journal in the world . . .
Governor’s Award for Pollution Prevention & Sustainable Practices.The awards recognize organizations that
reach high environmental protection goals—conserving vital resources such as energy and water and reduc-

LEUKOS
ing or eliminating hazardous waste—while making products and providing services. Washington state
Department of Ecology director Linda Hoffman presented the awards with Tom Fitzsimmons, Governor Gary
Locke’s Chief of Staff.
The BetterBricks Daylighting Lab, which is managed by the University of Washington’s School of
Architecture in Seattle, promotes using natural light through windows or skylights as the primary source of
interior lighting.The work of the Daylighting Lab helps reduce the energy needed for lighting and cooling work, THE JOURNAL OF THE ILLUMINATING ENGINEERING SOCIETY OF NORTH AMERICA
saving more than $1 million in electricity costs each year in the Northwest.
This year’s winners were selected from 25 applicants.The judges evaluated the entries on how they reduced
the use of toxic materials and the waste created, increased their use of renewable and recycled materials, con- For submission information:
served energy and switched to renewable energy sources, conserved water, and minimized the environmen- David DiLaura, Editor
ddilaura@iesna.org
tal effects of a product throughout its life cycle. For more information on the Governor’s awards go to the
website www.ecy.wa.gov/sustainability/GovAward/ gov_awards.htm

30 www.iesna.org December 2004 LD+A 31

INDUSTRY UPDATES
LRC Studies LEDs For
Supermarkets
The Lighting Research Center at Rensselaer
Polytechnic Institute,Troy, NY, is evaluating LED technol-
ogy for use in commercial display freezers. Funded by the
New York State Energy Research and Development
Authority (NYSERDA), the study will evaluate perfor-
mance, energy savings, shopper preferences and product
sales for this technology compared with the fluorescent
lighting currently found in supermarket freezers.
The LRC is collaborating with GE’s GELcore, the
Golub Corporation (Price Chopper supermarkets) and
Tyler Refrigeration (a division of Carrier Corp.) on this
project. The team recently installed a four-door freezer
with a prototype LED lighting system in the frozen-food
aisle at an Albany, NY, area Price Chopper supermarket.
N. Narendran, PhD, LRC director of research, says of
the new field study,“To the best of our knowledge, this is
the first freezer to operate with advanced white LED
technology on a supermarket retail floor.” During the
next several months, LRC researchers will survey shop-
pers about the LED freezer and a similar fluorescent-light-
ed freezer to determine shoppers’ lighting preferences.
Shoppers will evaluate the attractiveness and the clarity of
the merchandise within each freezer case.The LRC also
will analyze sales data to determine whether the freezer
lighting has any influence on consumers’ buying habits.
Results will be presented in spring 2005.
Finding more efficient ways to light freezer and refrig-
erator cases is important because supermarkets spend
nearly half of their electricity costs on refrigeration.
Though fluorescent lighting is generally considered ener-
gy efficient, these lighting systems do not perform well
inside freezers, says Narendran. “Cold temperatures
decrease the light output of fluorescent lamps and, at the
same time, reduce their operating life,” he says.
32
Design Industry
Expands in Third
Quarter, Survey Shows
PSMJ Resources, Inc., Newton, MA,
released its third quarter Economic
Indicators Survey for design profession-
als. Results show an expanding industry,
with 37 percent of firms reporting rev-
enue gains greater than five percent. In
addition, a solid majority of firms (61
percent) forecast higher revenues for
the fourth quarter. Though promising,
these numbers are somewhat less posi-
tive than the second quarter.
Key survey findings include:
• For firms reporting improved rev-
enues, increases of more than five per-
cent were twice as common as smaller
levels of improvement.
• Forty-eight percent of firms report
a higher level of proposal activity in the
third quarter than the second quarter.
In the prior quarter, 53 percent of firms
indicated higher proposal activity.
• Backlogs continue to increase mod-
erately and at a rate that is about the
same as last quarter.
Market sector trends, however, reveal
mixed results. The healthcare,
energy/utilities and housing markets
continue to show strong proposal
growth opportunities. Environmental
work and heavy industrial work indicat-
ed weaker proposal opportunites.
“Some markets, such as transportation,
are being adversely impacted by contin-
uing government funding issues,”
explained Bill Fanning, PSMJ director of
research.
PSMJ Resources Inc. conducts quar-
terly economic surveys to measure
design firm business trends in aggregate
as well as by market sector. The next
survey will be conducted in December
and published in January 2005. To view
the complete survey results, go to the
website www.psmj.com./surveys.asp
www.iesna.org
 • applications & solutions

LEDs Pump Up
Station Savings
When you consider all the fuel that
flows in and out of gasoline stations
across the globe, the petroleum indus-
try is fiercely competitive and offers no
room for error. Petro-Canada, one of
Canada’s largest petroleum retailers—
with a network of over 1600 retail and
wholesale outlets—understands that
cost containment is key to profitability.
So when it came time to replace neon
as the design standard for the contour
lighting on all its new (not retrofitted)
gas station canopies across Canada, the
company’s first priority was to find a
product that focused on energy savings.
Familiar with TIR’s solid state lighting
technology, Petro-Canada awarded the Vancouver company a three-year, $1.8 million contract
to replace neon signage with LED-based lighting.The project involves replacing the thin strip of
neon on the roof canopy with red LED tubing. David Monroe, vice president of corporate iden-
tity,TIR Systems, said “The application is usually called border tubing or canopy delineation.This
border tubing delineates the canopy over the gas pumps. Looking at it, the effect is that of a sin-
gle band of light around the canopy.”
The project began during the summer of 2003 at a test site facility in the Mont
The Project: New Tremblant region of Quebec, which allowed Petro-Canada to trial the signage light-
Petro-Canada gas ing under tough Quebec cold-weather winter conditions. From there they installed
station canopies another test site in Mississauga, ON, in early 2004 and this became the main test
across Canada site.The value of the test site was that Petro-Canada was able to compare its per-
formance to another neon-lit service station located nearby. Also during the pilot
The Challenge: Replace test, energy readings showed the product used less than 15 percent of the energy
neon signage to reduce
consumed by neon at an identical site. “We were impressed with the field perfor-
operating costs and
energy requirements mance of TIR’s LightMark product,” said Lance Ubell, manager, engineering & con-
struction for Petro-Canada’s asset management team. Reducing energy consump-
The Solution: LED- tion by more than 80 percent over neon is how the savings will be achieved.
based lighting According to TIR and Petro-Canada projections, if 1000 sites were converted to
LED from neon, then annual savings of approximately $2.5 million worth of elec-
tricity would result (at today’s energy costs).
The application is expected to be virtually maintenance-free over its 10-year life. In addition
to the significant energy savings and low maintenance costs, the LED-based lighting will also be
able to contribute significantly to a reduction in greenhouse gas emissions. Petro-Canada was
also drawn to the fact that the LED system offers a unique continuous appearance, unlike neon
and other systems that have gaps or breaks in the light every seven to 10 ft.This helps drivers
visually recognize the canopy from a distance and therefore is a key element to the station’s
lighting architecture.
—John-Michael Kobes

38
38 www.iesna.org
www.iesna.org
applications & solutions •

Piping Hot Skyline

When you think of a breathtaking skyline, images of
Los Angeles, Seattle, Chicago and New York usually
come to mind first. Situated around these metropolitan
giants are smaller structures that can sometimes seem
overwhelmed. Located on Hudson River waterfront
opposite downtown Manhattan is the Newport Office
Center VII (NOC VII). Built on a high profile location in
Jersey City, NJ, the NOC VII has added a dynamic ele-
ment to the Jersey City skyline using light pipe from the
3M Company and exterior color changing luminaires
from Martin Architectural to illuminate the lightbox.

PHOTO: BRUNO SILVA

Located above the 31st story, the lightbox easily blends
in with the rest of the façade during the day. However,
when night falls, the fixtures fade up against the dusk
skyline and the large glass wall softens, causing the
The Project: Newport
lightbox to appear different than the windows below. Office Center VII,
Lighting programmer Dawn Chiang created change- Jersey City, NJ
able lighting for the building façade, which doesn’t incorporate the tra-
ditional use of static exterior illumination fixtures. “At the same time, The Challenge: Provide
this wrap-around light box—with sandblasted glass that softens the skyline identity and
look of the light tubes, with lights that can change color and intensity— theme illumination to
creates a different, less literal or specific effect than a giant video wall or the building
neon sign,” said Chiang.
The diffused glass also prevents the light pipes from being visible from The Solution: Luminaires
and controllers
the outside. Since the tallest pipes are roughly half as bright as the short-
est lengths, spacing varies. The light pipe system, when coupled with
automated color-changing fixtures,
becomes an intense linear source of light. By using the micro-
structured 3M optical lighting film, even distribution of light from
end to end is possible. A total of 72 individually controlled 575-
W Exterior 600 color-changing washlights power six in. wide
polycaronate light pipes ranging in length from 26 to 48 ft.The
washlights are controlled from a centrally located engineering
room. Martin RS-485 Optosplitters, which allow four branches
to be added to the data link, were also used.
The lighting control program is also able to create motion in
moving lights.The result is a sequential “kickline” in a long row
of automated luminaires that is similar to sports fans executing
a “wave” across sections of a stadium.“This creates fun, complex
combinations of color waves that intersect with other color waves travelling in the opposite
direction around the building, thus creating other colors as the waves pass each other,” said
Chiang. The NOC VII has three façades—north, east (facing Manhattan) and south (facing the
Newport Office area) and features a number of different lighting programs for the light box that
run on different holidays, as well as seasonal programs that run nightly.
—John-Michael Kobes

December 2004 LD+A 43

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Each of the four bridge

towers is comprised of
four pillars. The outer
side of each pillar
(sketch, far right) is
uplighted by floodlights
positioned at the foot
of each pillar and
fitted with 1800-W
metal halide lamps.

side of the bridge floor are posi-

tioned in exactly the same manner
and direction.
Each floodlight is mounted on the
end of the metal cantilever of the
bridge deck (every eight meters)
through its bracket and a slightly off-
set metal support, specially
designed after on-site tests. They
THE RION- illuminate the bridge deck laterally
from a shallow top angle (in the
ANTIRION direction of vehicle travel). The
BRIDGE floodlights are set inwards from the
WEAVES A end of the cantilever to make them
as inconspicuous as possible. The

PHOTOS: COURTESY OF CONCEPTO

TAPESTRY OF
exact height of each floodlight has
COLORED been determined to create a hori-
LIGHT zontal shadow of the next cantilever
on the side of the bridge deck.
ACROSS THE
The floodlight bracket was modi-
GULF OF fied to minimize the surface area
CORINTH that can catch the wind. An indexing
and blocking system has been pro-
vided to definitively set the orienta-

BLONDE A
s night falls on the Gulf of
Corinth, the Rion-Antirion
Bridge—which joins the
Peloponnesus peninsula to the main-
land of Greece—undergoes a meta-
morphosis. It now appears as nothing
more than a thin golden thread,
Strait, the Rion-Antirion Bridge is the
longest cable-stayed bridge in the
world, with a continuous deck of
2250 meters. The bridge is built to
withstand the impact of a 180,000-
ton tanker, wind speeds of 250 km
per hour and an earthquake mea-
to the immense length of the bridge. tion of the floodlights (in both the
The towers, illuminated with low- vertical plane and the plane of rota-
angle lighting from the bridge deck, tion of the floodlight on its bracket).
gradually disappear into the dark This system also pertains to lamp
sky. The piers and the sea are left in replacement, which will be carried
darkness to mirror the effects of the out from the front of the floodlight
lighting. without removing the visor.

under woven delicately through four tower-

ing blue needles; a thread extending
suring over seven on the Richter
scale. The bridge is expected to
A Fine Golden Line
All the floodlights, supporting
brackets and visors are painted in

BLUE
between two coastline fragments, sus-
pended between the sea and the
heavens.
The bridge opened on August 8,
2004, to coincide with the Summer
Olympics in Athens. The Olympic
torch was carried across the bridge,
marking the successful completion
of a six-year construction project.
Crossing the three km Corinth Gulf
44 www.iesna.org
carry 10,000 vehicles per day.
All statistics aside, it is the lighting
(at a cost of 1.2 M Euros-2001 value)
that transforms the bridge into
what’s been called a “mysterious
and dreamlike nocturnal spectacle.”
The illumination of the metal bridge
deck was intentionally designed to
produce a superpositioning of shad-
ows bringing relief, texture and life
December 2004 LD+A
The two sides of the golden-yellow the golden-yellow color of the
painted metal bridge deck are illu- bridge deck. Given that the bridge is
minated laterally from above along located in a highly-corrosive saline
their entire length by 560 Thorn environment, the lighting equip-
contrast R1 floodlights equipped ment has received anti-corrosion
with Philips CDM-T 150-W ceramic treatment.
burner metal halide lamps (CRI 85,
color temperature 3000 deg Kelvin), Blue Needles
a yellow glass filter and a barn door The bridge features four towers
visor. All the floodlights on one given each supporting a 580-meter length
45
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The two sides of the golden-painted
bridge deck are illuminated laterally
from above by floodlights equipped
with ceramic burner metal halide
lamps. The floodlights are painted
gold to match the deck.
46
of the bridge deck. Each tower is
constructed of four pillars and rises
110 meters from the bridge deck.
The four towers are lit at a shallow
angle from the bridge deck level,
with an intense bluish light visible
from a great distance. Only three
sides of each of the four tower pil-
lars are illuminated with different
brightness intensities in order to
accentuate their parallel-pipe shape.
The fourth side, that is to say the
interior side of each pillar facing the
roadway, is not lit. A total of 176
floodlights are used to illuminate
the towers.
The outer side (facing the sea) of
each pillar is uplighted by five Philips
Arena vision MVF 403 floodlights with
ultra-intensive optics (two by three
deg aperture angle), equipped with
Philips MHNSA 1800-W metal halide
lamps (CRI 90, 5600 deg Kelvin) and
featuring a special filter holder with a
blue dichroic filter. The floodlights are
positioned at the foot of each pillar
and attached to the near-vertical con-
crete wall. They must be able to with-
stand winds of up to 200 kph. The
external lateral side (stay cable side)
of each pillar is illuminated by four
identical intensive floodlights and the
internal lateral side by two floodlights
of the same type. Each floodlight has
been precisely adjusted on site so that
the light is projected evenly up the
entire height of the illuminated side.
The white stay cables—highly visible
during the day—become invisible at
night, emphasizing the monumental
scale of the four illuminated towers,
which seem to be watching over the
entrance of the gulf. The roadway
lighting, also white light (metal halide
lamps with ceramic burner), punctu-
ates the structure. Schréder provided
the lighting for this element of the
project.
The bridge illumination system
consumes a total power of 400.8
kW or seven watts per sq m (exclud-
ing the roadway lighting). As for
maintenance, the floodlight materi-
als and protection indices are suit-
able for maritime climatic condi-
tions. All the lighting appliances are
in readily-accessible positions on
the structure to permit replacement
of the lamps. The average lifetime
of the 1800-W metal halide lamps is
4000 hours (at 4000 hours, 50 per-
cent of the lamps have burned out),
and 9000 hours for the 150-W
ceramic burner lamps. The system
lamps will therefore have to be
changed every two years on aver-
age, with daily operation from
nightfall until midnight (i.e., 2000
hours of operation per year).
That will ensure that the golden
thread and blue needles continue to
pierce the nocturnal landscape
across the Gulf of Corinth.
About the Designer:
Roger Narboni is director
of Concepto, a lighting
design firm in France. Mr.
Narboni attended the
School of Fine Arts, Paris,
and received a Master of
Electronics from Orsay
University. He was chairman of the French
ACE (Association des Concepteurs lumière et
Eclairagistes) from 1994 to 1999 and has
been a member of AFE (Association Française
de l’Eclairage) since 1992. He is also the
author of several books on lighting and has
developed more than 75 lighting master plans
in France, Greece, Belgium and Italy.
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. N. T. R .E N. D. S . . . . . . . . . . . . . . . . . . . . . . . . . . .
By Shawn Good
M
aster planning is often
used for the built environ-
ment, but rarely is it ap-
plied to lighting structures within a
city. The promise of a well-orga-
nized and visually appealing night-
time skyline is what prompted the
motivated citizens of South
Bethlehem, PA, to commission
Brinjac Engineering’s lighting de-
sign group to create a comprehen-
sive façade lighting master plan for
their community.
In most cities, building owners can
light their building façades as they
wish. Often these designs are based
solely on personal preference, with
no regard for the city’s overall
streetscape or skyline. South
Bethlehem’s façade lighting master
plan provides guidance to building
owners so their structures can not
A FAÇADE only stand out for their own beauty,
LIGHTING MASTER but also be cohesive with their sur-
PLAN IN SOUTH roundings.
The plan provides structure and
BETHLEHEM, PA, direction to the outdoor vision set
IS HELPING forth by the Architectural Lighting
DESIGNERS GET Committee of the South Bethlehem
Historical Society. Creating a plan to
PAST THE MINDSET provide usable technical information
THAT THEIR to future project designers, that would
CLIENT’S BUILDING remain simple enough for building
owners to understand, quickly proved
IS THE ONLY ONE challenging. First, the design team, in
IN TOWN conjunction with community repre-
Faces
A C I T Y ’ S
48
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. N. T. R .E N. D. S . . . . . . . . . . . . . . . . . . . . . . . . . . .
sentatives, established the following
four objectives:
• Skyline Views. From a distance,
the city’s skyline should create a
distinct image that provides a
sense of anticipation.
• Orientation. Highlighting impor-
tant features such as nodes, monu-
ments and landmarks will enhance
nighttime orientation for visitors
and residents.
• Streetscapes. Expressing the
beauty of the city’s historically and Nightime rendering of the Flat
culturally significant structures will Iron building illustrates lighting
strategy described in sketch.
entice more people to visit, shop
and dine in town. Strong vertical accents
• Civic Pride. Civic pride and any made at the point of
the building with a
beautification program go hand-in- grazing spotlight.
hand; a beautiful town generates a
sense of pride.
Express the vertical
elements of the build-
Required Reading ing with narrow beam
Since we could not require those uplights.
reading the master plan to fully
comprehend a lighting design
manual, a basic vocabulary needed
to be established within the plan.
So as not to overwhelm readers, all
educational and background infor-
mation was condensed into the
first 10 pages of the plan. Topics
such as community responsive
lighting design, owner responsive
lighting design and lighting tech-
niques were all described in an
easy-to-follow format with graphi-
cal representations.
Community responsive lighting
Decorative lanterns
mark the main entry.
M A N Y
Well lights recessed in the side-
walk light the trees and lower
level of the building.
www.iesna.org December 2004 LD+A 49
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design refers to the concept that an
exterior lighting design should be
sensitive to its surroundings and
the feelings of those who will expe-
rience the design on a daily basis.
Issues such as light trespass, light
pollution, glare and appropriate
community design are all dis-
cussed. Appropriate community
design refers to façade lighting that
is suitable for the urban character
and image of a particular commu-
nity. For example, Las Vegas, NV,
and Williamsburg, VA, are both
popular tourist destinations, but
they each have significantly differ-
ent lighting styles and urban char-
acter.
Each building owner has an
image of his or her business that
he or she would like the building to
covey. The chapter on owner
responsive design discusses the
use of light to convey this image. In
addition to enhancing the owners’
image, the lighting design must
also consider initial cost, mainte-
nance and energy consumption.
The chapter leads designers and
owners into conversations of how
a system will be maintained, how
to access the fixtures and what
appropriate maintenance intervals
The master plan includes an illustrated tutorial meant to increase the building owner’s
ability to understand the options available for lighting a façade.
50
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are required to keep the system
functioning properly. These con-
versations are encouraged to facili-
tate an open dialogue about the
owner’s ongoing physical and
financial ability to maintain the
system properly. Finally, discussion
points are raised regarding con-
serving energy to save money or as
a means to uphold the environ-
mentally conscious image of the
owner are discussed.
If the structure
stands alone
on a hill, then the
design should be
sympathetic to the
natural surroundings
such as the sky,
sunset and stars
The techniques and options
available for lighting a structure are
presented in a brief illustrated tuto-
rial to increase the building
owner’s ability to converse about
lighting. Topics such as illumina-
tion levels and colored light are dis-
cussed, as well as techniques like
floodlighting, grazing, outlining,
transmitted luminance, etc. While
designers combine these tech-
niques in limitless fashions, this
section provides the reader with
needed vocabulary to discuss light-
ing design.
The Big Picture
Often in design we talk about the
“big picture” but really we forget to
open our eyes to it. That is why we
created a “Views and Vistas” chap-
ter to discuss the views of town
from a distance. South Bethlehem
sits in a natural valley, by a river. As
a result, a skyline view exists from
almost every direction as one
approaches town. This fact is very
important, because a lighting
design applied to one church
steeple may look great from the
street and from the north skyline
view. However, that same steeple
might clash with another previous-
ly lighted structure when viewed
from a different direction. This
chapter identifies all the primary
vistas and considerations from
each, and encourages all structure
owners and designers to visit the
skyline points and identify the sur-
rounding structures.
It is important for us as design-
ers not to look at this big picture
approach as a limitation to our
designs, but rather an opportunity
to consider our structure’s lighting
in conjunction with others, creat-
ing an overall scene that is grander
than the individual project we are
working on. This big picture
approach to façade lighting is the
keystone of this plan and should be
applied to all façade lighting pro-
jects. If the structure stands alone
on a hill, then the design should be
sympathetic to the natural sur-
roundings such as the sky, sunset
and stars.
Can We Light Something
Already?
By this point in the master plan
process, the South Bethlehem
Architectural Lighting committee
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was growing impatient and began
wondering, “Can we light some-
thing?” Following the principles
previously outlined, general light-
ing techniques were developed for
40 structures in town. While many
more than the 40 structures repre-
sented would benefit from façade
lighting, the plan had to be limited
to a practical length. The structures
were chosen because of their
potential to represent the various
lighting techniques and establish
relationships between lighting
techniques from various vistas.
These structures also display a vari-
ety of historic building functions,
scales and locations.
Listed with each structure is a
picture of the structure, a descrip-
tion of the possible lighting tech-
niques, and an opinion of probable
initial and maintained costs. The
first five structures were detailed
with full-page descriptions, includ-
ing a daytime photograph, a sketch
December 2004 LD+A
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of a possible lighting design, and a
digital nighttime rendering. The
next six structures received half-
page descriptions with a sketch
and daytime photo only. Showing
more detail on a small number of
varied projects helped to describe
the lighting concepts in greater
depth.
Final Chapter
While the reality is that many
readers may not make it past the
actual lighting recommendations
for the various structures, the final
chapter of the master plan
addresses some important topics.
They include:
• Phasing the city. To help the
architectural lighting committee
get started and stay on track, a dis-
cussion of how to take a phased
approach is incorporated.
Suggestions are given, such as
starting with a high-profile kick-off
project by encouraging a promi-
The skyline view of
the city (bottom)
and the character of
the street facades
should drive lighting
decisions.
nent community leader to be the
first to light his or her building.
• Phasing a structure. Because
many of the taller buildings in
South Bethlehem are churches, a
sample of individual building phas-
ing is included to encourage plan-
ning the whole façade and con-
struction, as money becomes avail-
able. Fortunately, not all lighting
projects require the implementa-
tion to be completed in one phase.
Often incremental steps can be
used to reach a final goal. Although
the overall project may be broken
down into smaller pieces, with
proper planning, the building does
not have to look like an incomplete
project in between phases.
• Mock-ups. The importance of
mock-ups is stressed because it not
51
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only shows the owner what the
final result will be, but it can also
reveal design issues that may need
to be addressed.
• Preventative maintenance.
Ensuring that the carefully coordi-
nated and constructed façade light-
ing stays beautiful requires a proac-
tive approach. Most people realize
they need to change the oil in their
car regularly, but just assume a light-
ing system will work by merely
replacing the lamp when it burns
out. Group relamping at the end of
rated life, cleaning, adjusting and
other preventative maintenance
techniques are discussed in this sec-
tion.
• Plan updates. Finally, we
address how to update the plan so
it remains current as the city
changes. Simple recommenda-
tions are made to the Architectural
Lighting Committee such as keep-
ing a photo file of the changing
skyline and individual structures as
52
they are illuminated, keeping notes
of what techniques are used on
specific structures and adding new
buildings to the plan.
The Architectural Lighting
Committee of South Bethlehem is
now presenting the façade light-
ing plan to building owners
throughout the town. The com-
mittee also has money available
for a very low interest loan to help
finance projects. With support
from the city and community, the
dedicated committee volunteers
are meeting with building owners
to discuss and review lighting con-
cepts and maintenance plans to
ensure continuity in the city. To
date, several of the 40 buildings
identified in the plan, as well as
others not originally included, are
in the design or fund-raising stage
for overall improvements, includ-
ing lighting.
Simply put, the pages of the
master plan may soon come to life.
About the Author:
Shawn D. Good, PE, LC,
LEED, Member IESNA
(1997), is currently the
lighting department
manager at Brinjac
Engineering in Harris-
burg, PA, and an adjunct
instructor at the Bradley Academy for the
Visual Arts. Mr. Good holds a Bachelor of
Architectural Engineering from the
Pennsylvania State University with an
emphasis on Lighting/Electrical Systems.
His work has been featured in several
national publications including LD+A (July
2002) and Architectural Lighting (February
2002). He was honored as the Young
Engineer of the Year by the Central
Pennsylvania Engineers Week Council in
2003. He has also received numerous
awards for his work at Brinjac, including
IIDA regional Awards of Merit for the follow-
ing projects: Market Street Bridge Relighting
2004, National Civil War Museum 2003,
Keystone Building Federal Hearing Room
2003, Cleve J Fredrickson Library 2002,
interior and exterior awards for Fredrickson
Outpatient Surgery Center 2001, and Penn
State University Sparks Building Language
Learning Center 2000.
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SWOPE T H E R E I T I S

PHOTOS: DAN KOHNEN

AFTER YEARS OF NEGLECT, A KANSAS CITY MEMORIAL
HAS BEEN RETURNED TO ITS FORMER GLORY

By John-Michael Kobes

I
s this any way to treat one of
your best donors? After
Colonel Thomas Swope
donated 1354 acres of land in
1896 to the city of Kansas City,
MO, for a public park, the city
built him a soaring memorial
overlooking the park, only to let it
fall into a state of disrepair over
the ensuing decades. Now the
Thomas H. Swope memorial is
making a comeback.
Swope Park is the second
largest city-owned and operated
park in the U.S. The monument
sits on a prominent location over-
looking the Kansas City Zoo and
Starlight Theater. As years of
harsh weather conditions as well
as natural deterioration took a toll
on the structure, the crumbling
memorial became hidden from
view due to overgrowth and
improper night-time lighting.
“The biggest difference I saw on
this project was its prominence in
the history of Kansas City, but its
lack of prominence due to its cur-

December 2004 LD+A 53

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rent condition,” said designer Kathi
Vandel of LightWorks, Inc., Weton,
MO., who received a 2004 Inter-
national Illumination Design Award,
Award of Merit for the project.
“People just didn’t know the monu-
ment existed.”
The design is classic in its use of
‘The on-site goal was to provide a welcoming
environment to showcase the monument and
allow visitors to absorb the view’
the crest of a hill to establish a refer-
ence point in the park. “You enter
the park from Swope Boulevard,
which runs along the first ridge west
of the Blue River and the land rolls
gently down to the river and then on
the east side a wooded bluff abrupt-
ly rises above.” said Richard
Coleman, manager of planning and
design, The Kansas City Missouri
Parks and Recreation Department.
54
The site for the memorial was origi-
nally chosen based upon its relation-
ship to the main entry into the park.
George Kessler completed the origi-
nal design in 1915 and the firm of
Wight and Wight was hired to over-
see the construction that began in
1917. A few years later there was an
addition to the memorial structure
that included a middle set of stairs
and a fountain court. This work was
completed in 1922.
The memorial restoration consist-
ed of three architectural elements—
the monument, middle stairs and
fountain courtyard. Started in
January 2001, construction was
completed in August 2003. Site
improvements began in July 2003
A fluorescent wall
fixture washes Colonel
Swope’s bronze epitaph.
Right: High wattage floods
located below the fountain
establish a base line.
and were finished in November
2003. The Kansas City Missouri
Parks and Recreation Department
and the preservation firm of Susan
Richards Johnson & Associates, Inc.,
Kansas City, MO, combined efforts
to create a restoration plan that
addressed structural defects, discol-
ored and broken granite and lime-
stone, as well as poor lighting. As it
turned out, the way to fix the light-
ing was to disguise it. “The lighting is
not in plain view, it is hidden in the
trees or at grade level and surround-
ed by the natural landscape,” said
architect Susan Richards Johnson.
“The only piece of the lighting sys-
tem that is visible is the illuminator
box, which rests on top the monu-
ment. It was custom painted to
blend with the surrounding granite.”
Lacking Prominence
As nightfall sets in, the monument
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eventually disappears into the land-
scape, so park owners were desper-
ate to give it a night-time presence.
Contracted to provide the lighting
for this project was LightWorks, Inc.,
Weton, MO. Vandel said the lighting
design goals were two-fold. “One
goal was for distance viewing and
the other was on-site,” said Vandel.
“The distance viewing goal was for
the monument to pop off the hill-
side as patrons entered Swope
Park—approximately one mile
away. The on-site goal was to pro-
vide a welcoming environment to
showcase the monument and allow
visitors to absorb the view.”
The monument is constructed of
Bethel white granite, and many of
the granite slabs had to be removed
and reset in their original locations.
“We detailed which slabs had to be
removed, how these slabs were to
be labeled and stored and how they
were to be reset in order to create a
watertight envelope,” said Johnson.
The path to the monument is light-
ed completely by low-voltage land-
scape fixtures mounted high in the
trees which utilize 50-W MR16 wide
flood lamps. As visitors move down
the stone path, a moonlight effect
offers some natural assistance. By
uplighting the columns, the monu-
ment appears elevated, especially as
visitors approach from the path-
way/parking area. On the front side,
the uplights provide a backdrop that
silhouettes the columns, and 35-W
Par20 30 deg metal halide ingrade
fixtures were utilized specifically for
their cool color, long life and beam
control capabilities.
The lighting is both dramatic and
subtle in how it accents the memor-
ial. “First, architectural flood lights
wash the memorial and illuminate
the surrounding woods,” said
Coleman. “This provides enough
light that the memorial is distin-
guishable from the park entry. The
lighting is really the exclamation
point to the project.” The monu-
ment was designed to incorporate
aspects of nature found within the
surrounding park. The spots that are
December 2004 LD+A
mounted in the trees accent special
features like the cupola and the
stone lions flanking the stairs.
Bronze medallions illustrating indi-
vidual tree species flank the upper
entablature that is separated by a
Latin inscription stating, “If you
would see my monument look
about you.” The bronze epitaph is
illuminated by a single 54-W T5HO
and an asymmetric reflector of
3500K provides an even wash to the
plaque without harsh shadows.
Vandel encircled the entablature
with side-emitting fiber optics with a
long life metal halide lamp.
Mockups for this treatment included
testing of LEDs and fluorescent solu-
tions. “LEDs did not provide the cor-
rect color reflection off the granite,
while the fluorescent fixtures were
physically too large and caused
maintenance concerns due to the
lamp quantities required,” said
Vandel. “Fiber optics gave us a soft
glow subtly recognized while on site,
but clearly outline the monument
from afar.” A single 50-W MR16
uplights the tripod, mimicking the
look of a glowing flame that can be
clearly seen from the entrance.
Displayed above his burial mau-
soleum is a large bronze plaque
commemorating Colonel Swope. A
death mask was utilized to produce
his portrait in the bronze panel.
Wiring was completely concealed
within the existing mortar joints of
the granite from the grade level up
to the entablature (a distance of 24
ft by zero in.).
Bubbling Beauty
The preservation included the com-
plete removal of the existing lime-
stone stairway. New Indian limestone
and granite treads were installed and
fabricated to resemble the existing
stairs in profile and configuration. The
historic limestone end walls were
retained in the rehabilitation. The
stairs are illuminated by 100-W
PAR38 65 deg wide metal halide fix-
tures mounted high in the trees from
two sides. “The lumen package pro-
vided just the right amount of illumi-
nation while the beam spread gave us
a soft wide beam,” said Vandel.
Located at the west end of the site
is the fountain courtyard comprised
of a decorative limestone balustrade
with built-in limestone benches. The
area offers a view of the park to the
west (now the African Exhibit of the
Kansas City Zoo). The centerpiece is
a carved limestone pedestal foun-
tain that required complete restora-
tion of the existing limestone base
and bowl. The fountain courtyard
required removal of the existing clay
tile paving areas that exhibited signs
of movement. New clay tile pavers
were fabricated to match the exist-
ing ones in color, texture and profile.
The base of the fountain court is
lighted by 1000-W metal halide
55
. . . . . . . . . . . . . . . . . . . . . . . . . . . . PROJECT . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
lamps and the hillside below the
fountain is also equipped with fix-
tures that were cross-aimed to estab-
lish the base-line that catches the vis-
itor’s eye from afar. “The illumina-
tion requirements were determined
by thinking of the façade as a bill-
board (since it was to be noticed
from one mile away),” said Vandel.
“Careful aiming minimized the glare
patrons experience when on-site
allowing them to enjoy the view of
the park. The spill we did get off the
horizontal optics provided uplighting
on the trees, which bordered the
lower site. The light that filters
through the openings in the court-
yard wall was a pleasant bonus.”
With the newly created clay pavers,
plumbing and illumination systems,
the restored fountain now displays a
tranquil glow.
From Dusk to Dawn
The design featured different
lighting zones that function during
different times of day. The main rea-
son for this is that flood lighting on
the fountain court wall is turned off
while the majority of visitors are
56
The new lighting
design allows patrons
to view the
memorial from the
park’s entrance.
enjoying the site in the evening. At
this time, the path lights would also
be extinguished, which extends the
MR16 lamp life. This is all accom-
plished by a multi-zone electronic
timeclock operating from 6:00 AM
to 9:30 PM.
The final product reflected the
numerous hours spent on considera-
tion of sources, calculating of appro-
priate beam spreads, reflectances
and contrast ratios that drove the
selection of lamp lumens and fixture
locations. Vandel said she walked the
site with the contractor at several
locations and hand-selected the trees
for all the lighting to be installed in.
Once the fixtures were installed,
designers were able to raise fixtures
if needed, re-aim as required and
relocate a fixture in one instance. “It
was definitely a hands-on construc-
tion administration endeavor that
ended up being well worth the addi-
tional time spent,” said Vandel.
“That in itself makes the project
incredibly rewarding.”
The Thomas H. Swope Memorial
has finally come out of the dark.
The Colonel would be proud.
About the Designers:
Kathi S. Vandel, P.E.,
Member IESNA (2002), is
president and founder of
LightWorks, Inc. Esta-
blished in 2002, the firm
specializes in lighting
design and engineering
for all building types, both interior and exteri-
or. Mrs. Vandel has 15 years experience in the
design of lighting and power systems for com-
mercial and residential construction and has
received numerous awards for her lighting
designs and her experience includes exterior,
retail, office, education, hospitality and enter-
tainment facilities. She’s served the IESNA
Heart of America Section in numerous lead-
ership roles for seven years. She is a graduate
of Kansas State University’s Architectural
Engineering program.
Susan Richards Johnson is
the owner of Susan
Richards Johnson &
Associates, Inc. Her firm
has been involved with
numerous architectural
projects, many of which
have dealt with issues per-
taining to inventory documentation and
existing building analysis, building surveys,
historic preservation and historic restoration
and renovation. Mrs. Johnson is a graduate of
the University of Kansas where she earned a
bachelor of Environmental Design in
Architecture from the School of Architecture
and Urban Design. She has gained recogni-
tion in the area of historic preservation
through the renovation and restoration of
several National Register Buildings within the
Kansas City area. Her renovation work on the
Historic Kansas City Public Library Building
has received a preservation award from the
Landmarks Commission.
Richard C. Coleman is the
manager of planning and
design for the Kansas City,
Missouri Board of Parks
and Recreation Commis-
sioners. Mr. Coleman
holds a Masters degree in
Architecture and Urban
Planning and is licensed in both areas. He is
a member of the American Institute of
Architects, American Institute of Certified
Planners, the Urban Land Institute, LEED
Certified and has received local and national
awards for his design work. His current focus
is the restoration of the Kansas City Parks
and Boulevard system as designed by George
Kessler.
www.iesna.org
 . . . . . . . . . . . . . . . . . . . . . . . . . . . .C O. V. E R. S. T.O .R Y. . . . . . . . . . . . . . . . . . . . . . . . . . . .

By Paul Tarricone

C alling the Benjamin Franklin Parkway a “roadway” is like

calling the Declaration of Independence a “government
report” or calling old Ben himself a “political operative.”
Granted, in the most literal sense, the Benjamin Franklin
Parkway is a conduit for moving drivers along a one-mile stretch
of road. But the word “parkway” doesn’t tell the half of it. Serving
as the major vehicular and pedestrian route into Center City, the
parkway is as important to Philadelphia as Pennsylvania Avenue
is to Washington DC. It connects City Hall (at the east end of the
parkway) to the Philadelphia Museum of Art (at the west) and is
also dotted with cultural institutions and monuments, including
the Rodin Museum, the Franklin Institute and the Shakespeare
PHOTOS: TOM CRANE PHOTOGRAPHY

Memorial. “The parkway is exactly that, a grand boulevard with-

in a park setting,” says Sandra Stashik, principal of lighting design
firm Grenald Waldron, who compares it to the Champs Elysees.
The parkway also frames a narrative about the city. “There is
a story to be told about Philadelphia in the journey down the
parkway,” says Alfred Borden, president of The Lighting Practice.
“The parkway’s previous lighting was a visual jumble. Now it will
become one of the city’s primary story-telling devices.”
The $5.3 million re-lighting includes two specific components:
upgrading pedestrian and roadway lights along the parkway

FRANKLIN

Mint A DRAMATIC
LIGHTING PROGRAM
HAS REVITALIZED
PHILADELPHIA’S
BENJAMIN
FRANKLIN
PARKWAY

The Philadelphia Family

Court was one of eight
buildings illuminated during
the project.

The pedestrian scale
pole (here, in Logan
Circle and at right) is
lower than the tree
line to enhance
sidewalk lighting.
(lighting by Grenald Waldron) and illuminating
the classically inspired buildings, statues,
moments and fountains that line both sides of
the parkway (lighting by The Lighting Practice).
The Central Philadelphia Development Corp.
raised $3 million from the Pew Charitable Trust
and $2.3 million from the Commonwealth of
Pennsylvania for the project, which is managed
by the Center City District (CCD).
The lighting design had to address the needs
of multiple end users, including residents,
tourists, drivers and pedestrians. “The parkway’s
dim lighting has been a deterrent to its vitality
and growth,” says Paul R. Levy, executive direc-
tor of the CCD. The goal of the project, he adds,
was to help create a “unified sense of place” and
“enhance safety and comfort.”
The Roadway
Grenald Waldron was responsible for lighting
the parkway, itself. All totaled, 222 new orna-
58
. . . . . . . . . . . . . . . . . . . . . . . . . . . .C O. V. E R. S. T.O .R Y. . . . . . . . . . . . . . . . . . . . . . . . . . . .
mental pedestrian scale lights (15-ft high) and
132 new ornamental roadway lights (30-ft high)
have doubled the illumination level on the park-
way. Pedestrian and resident needs were more
critical than driver needs. “The roadway was not
underlit, but the sidewalks were not well lit at
all,” says Stashik.
The GW approach was to adopt the lighting
“vocabulary” it had established in other Center
City projects. Currently, more than 1600 pedes-
trian poles have been installed throughout the
city based on the firm’s design. “The goal was to
create a unified appearance to the parkway and
connect it to Center City,” says Stashik. The over-
all light level is lower than Center City to reinforce
the park-like atmosphere, while maintaining uni-
formity on the roadways and sidewalks. The
pedestrian scale pole, which is lower than the
tree line, enhances the sidewalks. “For the park
areas, we were inspired by Philadelphia’s turn-of-
the-century lighting designed by Paul Cret,
1800s’ street light designs and the Washington
Globe,” Stashik adds. “We gave the agencies a
selection of three fixtures—a traditional, a transi-
tional and a contemporary.” The choice was the
transitional, a fixture with a Victorian feel, that
relates to the city’s history and blends well with
its historic and newer buildings.
Buildings and Monuments
The Lighting Practice was responsible for a
comprehensive program to illuminate eight
Downlighting was used
for statues (here at the
Galusha Pennypacker
Memorial) that feature
human forms because
it produces natural
shadows.
www.iesna.org December 2004 LD+A
buildings and 12 monuments and statues along
the parkway. They include City Hall, the Art
Museum, the Rodin Museum, the Civil War
Soldiers & Sailor Memorial, Philadelphia Family
Court and the George Washington Memorial.
Predictably, given the high-profile nature of the
structures being lighted, several city agencies
also had input during design. “We worked with
the sculpture curator for the Fairmount Parks &
Art Association on the design. Then, there was a
design review by the city’s Historical
Commission and Art Commission,” says TLP’s
Borden.
One challenge was the need to address some-
what competing visibility and comfort require-
ments. “The project is supposed to encourage
pedestrian traffic, but there are also cars 50 to 60
ft away from the buildings driving by at 40 miles
per hour,” says Borden. As a result, the lighting
needs to accommodate both pedestrians, who
view the structures up close, and drivers, who
view them from afar. “We wanted soft light for the
monuments but in some cases we found it was
too soft for the drivers passing by,” says Borden.
City Hall and the Art Museum—the buildings
that bookend the parkway—are strongly or
“heroically” lighted, Borden adds. “The various
institutions and monuments along the path of
the parkway will be illuminated to emphasize
individual qualities and attributes. Each will take
the light differently, but our overall lighting is
based on the same principles. We want the light
to be a supportive element, not overt or showy.
It is visually integrated with each building’s
architecture.”
TLP decided that clear or white light was best
for rendering a nighttime image for the sculp-
tures and monuments. Designers specified 3000
deg Kelvin ceramic metal halide lamps (supplied
by Philips) to get the “richest, warmest tone of
clear light possible,” says Borden. Arc Lighting
Systems supplied accent lights.
Because the parkway is the site of the city’s
Thanksgiving Day Parade, July 4th festivities and
other celebrations during the year, pole-mount-
ed luminaires were selected. Total pedestrian
traffic during these events tops one million
annually, so ground-mounted lighting was not
deemed feasible. Most of the pole locations are
concealed among the groves of trees that line
the highway. Light is aimed to limit glare and
light trespass onto the roadway.
Meanwhile, the nature of the sculptures, them-
selves, influenced design strategy. “Downlighting
works best for sculptures that feature human
59
. . . . . . . . . . . . . . . . . . . . . . . . . .
Lighting of
monuments, including
the Shakespeare
Memorial, had to
accommodate
forms because it produces natural shadows,” pedestrians and
says Borden, adding that uplighting can create motorists.
shadows that produce a distorted or ghoulish
appearance.
After all these years, many of the finishes on
the sculptures have darkened to a black patina.
“During mock-up tests, we found that the sculp-
tures had to be lighted from all sides or the fine
detail of the carving would be lost in the very
deep details produced by the black finish,” says
Borden. This solution introduces light of differ-
ent intensities from opposing angles, thereby
generating enough shadow to delineate the form
and detail of the piece, but not deep shadows
that make the parts of the sculpture indistinct.
Lighting for the building facades along the
parkway was based on similar principles.
Designers specified 3000 deg Kelvin Philips
Mastercolor metal halide lamps in the majority
of the fixtures for color consistency along the
parkway. Fixtures (from eight manufacturers)
ranged from pole and building-mounted flood-
lights, to uplight and cantilevered wall washers,
building-mounted uplights and downlights, and
surface downlights. “Our design intent was to
give the buildings their own architectural identi-
ty but tie together similar features. This design
was supported by a uniform color of light with
various directions and intensities,” says Julie
Panassow, an associate with TLP.
The lighting of the Greek Revival-style build-
ings creates layering and depth in the cornices frequent speaker and writer on a variety of lighting topics, Mr.
and colonnades. For the other buildings erected Borden is a past president of the Philadelphia Section of IESNA.
in the late 19th and through the late 20th centu- He has served a total of eight years on the IALD Board of
ry, TLP created a visual composition for each tra- Directors including two terms as treasurer and one as director
of marketing and communications.
ditional or contemporary architectural style.
Building entries and identity graphics were Julie Panassow, Member IESNA (1993), is
accented. an associate with The Lighting Practice
Finally, since the roadway and building lighting and has a degree in architectural engi-
initiatives along the Benjamin Franklin Parkway neering from Penn State University. She
are really two separate projects, Grenald Waldron has worked in the lighting design profes-
sion since 1984 and has extensive expe-
and The Lighting Practice did not necessarily rience in lighting design for corporate,
need to sit side-by-side at planning meetings or museum, academic and historic build-
collaborate, per say, on the lighting. ings and sculptures. She has also received a number of IIDA
However, their work does meet on the street. Awards during her career.
Some of TLP’s fixtures now live on GW’s poles.
Sandra M. Stashik, PE, Fellow, IESNA
Member (1977), IALD, LC, is principal,
About the Designers: Alfred R. Borden director of corporate resources for
IALD, ELDA, LC, Member IESNA (1978), is Grenald Waldron Associates, where she
president and founder of The Lighting has been a member of the design team
Practice, Inc., Philadelphia. Mr. Borden has for 18 years. Her responsibilities include
over 21 years of experience in all phases of marketing, staff development and hir-
lighting design for the exterior and interior ing, as well as project design and man-
of buildings in the U.S. and overseas. He agement. She is a past member of the IESNA Board of
started his lighting career in theater and Directors, and past chairperson of the National Energy
television and then founded his 12-person firm 15 years ago. A Management Committee.

60 www.iesna.org
The blue/green glow . . . . . . . . . . . . . . . . . . . PROJECT . . . . . . . . . . . . . . . . . . .
bleeding through the
vertical channeled wall of
glass is created by over spill
from the lounge area.
Close-up of banquette
(right) backing up to the
shared channeled glass wall
divider between the lounge
and dining area.

Get Ready,

Andiamo
Get Set

A
little bit of this and a little bit of that,
PONTE VEDRA’S and that’s the recipe for making a
NEWEST CAFÉ IS restaurant? In some ways it is. Just
WARM, INVITING like the entrees they create and serve,
restaurants are all about flavor. Location,
AND READY TO
menu planning, décor and floor planning
SERVE are some of the necessary ingredients that
are adjusted to create the ideal blend or
identity for any establishment.
Gianni Recupito and his son, Giovanni,
By John-Michael Kobes are an example of this recipe for success.
The father and son duo own three Florida
restaurants: Tra Vini (Ponte Vedra Beach),
Salerno’s (Jacksonville) and their newest
venture, Caffé Andiamo—a 103-guest
Italian restaurant located in Ponte Vedra
Beach. Andiamo uses traditional materials
like marble, wood, copper, tile and slate
but in a contemporary manner. The main
goal of the project was to create an
upscale restaurant in an urban setting that
catered to both the beach community and
resort market. The project required a mel-
low lounge area combined with a wel-
coming family atmosphere. In order to

PHOTOS: JOSEPH LAPEYRA

provide a diverse and interesting variation
of dining experiences the restaurant is
divided up into more intimate areas
including a neighborhood bar, general

63
. . . . . . . . . . . . . . . . . . . . . . . . . . . . PPRROOJJEECCT T . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
family dining room, a small cozy
group dining room and plenty of
booths and banquettes.
New Dish
Completed in May 2004, the
3000 sq ft establishment offers
guests two major viewing features
during their dining experience. The
first is the centerpiece copper clad
wood burning pizza oven, which
can be seen from all points in the
restaurant. The second is the floor
to ceiling vertical channel glass
divider that separates the main
dining room from the lounge area.
The intimate entry
area and hostess
stand welcome
guests to
the café.
64
Commissioned for the project was
design firm Rink Reynolds
Diamond Fisher Wilson, P.A.
(RRDFW), Jacksonville, FL. “Res-
taurant design is theater,” said pro-
ject designer Larry Wilson. “The
space created is intended to give
the diner an experience. It’s a little
bit of escapism that transports the
diner to a different place for a few
hours.” Besides the lighting ele-
ments of the project, the firm also
worked on the programming,
space planning, interior finishes,
custom millwork and detailing,
and furniture and fabric selections.
It also assisted in the exterior reno-
vation details, material selections
and finishes.
What’s Cooking
The café is open seven days a
week and its operating hours
begin every day just before noon.
All fixtures are on a manual dim-
mer, which allow the owners to be
flexible with the light levels. The
only area that offers any natural
light is a bank of windows on the
front façade of the restaurant.
During the daylight operating
hours, artificial light is still
required. The horizontal corrugat-
ed wood veneer panels that line
both sidewalls of the restaurant
create a strong directional line
that draws people into the restau-
rant. The entry area of the restau-
rant is illuminated by a single
small aperture downlight that is
fitted with a 12-W MR-16 35-W
spot. A pair of surface mounted
mono-point fixtures, fitted with
35-W MR-16 narrow floods, illumi-
nate the wine display in the back-
ground. In addition, the wine dis-
play cutouts are ringed with a con-
cealed band of glowing line volt-
age “rope lights.”
In the main dining room, ambi-
ent lighting is achieved by using a
simple surface mounted downlight
lamped with PAR 20 35-W spots.
Along the wall is a continuous
recessed light pocket that provides
a wash of light down over the cor-
rugated maple wood paneling.
Each of the booth tables is illumi-
nated with a single wall recessed
fixture. “We needed to allow
enough light on the dining tables
to read menus without blasting the
room with light,” said Wilson. The
fixture contains an internal reflec-
tor that throws a soft glow hori-
zontal and down towards the
tabletop without creating glare.
Each is lamped with a 13-W DTT
GX 23-2 fluorescent.
As guests continue to dine
throughout the evening, the pol-
www.iesna.org
 A split view of the
front entry looking
towards lounge (on
the right), dining
area (on the left)
and the copper
oven (in the back).
ished copper wood burning pizza
oven shines on as the café’s signa-
ture icon. To provide the necessary
sparkle, the surface of the oven is
grazed with MR-16 spots in surface
mounted mono-points. Wilson
selected the fixture because it
exposes the lamp, which provides
the desired look he was after. “I
prefer to use a dicroric lamp that
allows for a nice color kickback out
of the back of the lamp,” said
Wilson.
December 2004 LD+A
Seeing Isn’t Always Believing
The space template the design
team had to work with was long
and narrow at only 33 ft wide. At
the highest point it was only 10-ft,
9-in. high. Incorporating continuous
mirrors above the soffits lining the
walls offers some relief to the lack
of space. To completely overcome
this difficulty, Wilson created a large
arc of channeled glass that directs
patrons towards the dining room
but still allow access to the lounge
area. The strong vertical lines creat-
ed by the channeled glass wall also
offer the illusion of height. “By
using this monumental gesture
along with an overscaled brushed
stainless steel column surround we
were able to create a strong sense of
architecture within the otherwise
generic volume,” said Wilson. The
blue/green glow bleeding through
the vertical channeled wall of glass
is created by over spill from the
lounge area. The channeled glass
65
 . . . . . . . . . . . . . . . . . . . . . . . . . . . . PPRROOJJEECCT T . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
wall permits for shared light and
creates an interesting play of forms
from one space to the other.
Within the lounge area, small
fully recessed small aperture down-
lights offer pools of concentrated
35-W MR-16 spotlights on the mar-
ble top. The overall ambient lighting
is achieved by using a simple sur-
face mount downlight lamped with
PAR 20 50-W spots. Large cutout
ceiling coves over the back-bar pro-
vide a soft overall illumination. The
bottle display and liquor storage
shelves are backed by the same cor-
To mimic the
form of the corian
cylinder sink, a
suspended glass
fixture was installed.
66
rugated maple wood paneling as
the banquettes. Both are down
washed and uplighted with a con-
stant incandescent light source. The
continuous recessed uplight cove is
diffused by a textured glass panel.
Like all the fixtures in the restau-
rant, they are on dimmers for flexi-
bility and control. “I am proud of
the fact that we were able to create
a dining experience that gives the
feeling of being larger and more
grandiose than it actually is,” said
Wilson. “By using interior architec-
tural details that are enhanced by
the lighting system we were able to
create an illusion of space.”
The only custom fixtures used
within the cafe are in the restrooms.
The men’s restroom features a cus-
tom corian cylinder sink. To mimic
the form of the sink, a suspended
etched glass fixture with a 75-W A-
lamp was installed above it. In the
women’s restroom, a continuous
light box hangs over the vanity. “It is
truly an illusion because it is not, in
itself, a light fixture,” said Wilson.
“We created a rectangular frosted
Plexiglas box that is suspended from
the ceiling by two steel brackets.”
The fixture is illuminated by a single
lamp fluorescent strip light that is
wall mounted behind the box, giving
off the impression that it is internally
lit. By doing this the design team was
able to move on with production and
avoid interruptions like code issues
and allows for easy relamping.
The illumination of both the large
glass wall along with the strong,
visual element that is the copper
pizza oven provides a sense of place
for this unique space. Dinner is
served. Mangia.
About the Designer:
Larry Wilson received his
Bachelor of Design
Degree in Interior Design
from the College of
Architecture, University
of Florida in 1976. After
practicing in Houston,
Washington, D.C. and New York City, Mr.
Wilson relocated to Jacksonville, FL, and
opened Larry Wilson Design Associates
with his wife, Laurie Hitzig in 1987. He
merged his design expertise with Rink
Reynolds Diamond Fisher Architects in
1999 forming Rink Reynolds Diamond
Fisher Wilson, P.A. The firm offers expertise
in commercial and residential interior
design specializing in restaurant, hospitality,
retail and resort design. Dedicated to the
crafts of interior design and artistry, Mr.
Wilson serves on several advisory boards,
including the advisory board to the Interior
Design Department, College of Design,
Construction & Planning at the University of
Florida. He has been appointed to the
Mayor’s commission on art in public places
and is also a trustee on the board of the
Jacksonville Museum of Modern Art.
www.iesna.org

A Long And Winding Road
From gas lights through Cobra-heads and LEDs:
A look back and at what’s around the bend in roadway lighting
By Ian Lewin
I
n 1906, the year of the Society’s
founding, street lighting was
already well established. At that
time, for example, the city of Chicago,
alone, had 5500 gasoline lamps, 12,000
flat-flame gas lamps, 12,500 gas mantle
and 7000 electric arc lamps. The value
of street lighting was well understood
in terms of crime reduction, traffic
safety and civic betterment.
Light Sources
Roadway lighting practice has been
dictated to a large extent by the avail-
able sources of light. They ranged
from the fourth-century fire basket to
“candle lanterns,” oil lanterns, oil
lamps and gas street lighting (Figure
1). With the development of the
dynamo in 1870, electric street light-
ing became practical.The earliest elec-
tric sources were the carbon arc
type, and these were in extensive use
in the early 1900s (Figure 2). Area
lighting was developed and used in
downtown areas. Electric arc lighting
continued in use until the 1940s.
Filament Lamps. With the devel-
opment of the electric filament lamps,
a new source was available to com-
pete with gas lamps for low power
applications. By 1910, both carbon
and tungsten filament lamps were
widely used, although typically not yet
replacing the high power arc lamps.
A further boost in lamp perfor-
mance was achieved in 1913 with the
invention of the gas-filled incandescent
filament lamp. This allowed the pro-
duction of higher wattage filament
December 2004 LD+A
T H E C E N T U R Y
sources, and output of the largest
lamps climbed to 25,000 lumens. By
the 1930s, initial efficacies had reached
the 10 to 20 lumens per watt range.
HID Lamps. Major changes began
in 1934 with the development of the
first practical high intensity discharge
(HID) sources. Two sources were
introduced almost simultaneously, the
low pressure sodium lamp and the
low pressure mercury vapor lamp.
The low pressure sodium source
boosted lamp efficacy to the 45 to 55
lumens per watt range. The accep-
tance of the lamp was poor in North
America, primarily because of its
monochromatic yellow color, but it
became very widely used overseas.
Mercury lighting, demonstrated at
the 1938 World’s Fair, quickly estab-
lished itself as the dominant light
source in North America, replacing
incandescent lamps. These new
sources allowed for higher light levels
with reduced operating costs and only
a minor increase in initial costs. By the
early 1950s, efficacy had climbed to 50
lumens per watt, while rated life
reached 5000 hours. Further refine-
ment, including the development of
the “bonus line mercury electrodes,”
increased rated life to 24,000 hours.
Also in the 1950s the switchover from
series electrical circuits to multiple
point distribution assisted in the use of
the new sources.
A further new source,the high pres-
sure sodium lamp began limited usage
in the early 1960s and quickly became
the standard roadway lighting source.It
remains so today, offering the advan-
tages of high efficacy, long life, good
S E R I E S
lumen maintenance and low cost.
Also in the 1960s, the metal halide
lamp was developed. This is a refine-
ment of the mercury lamp that pro-
duces increased efficacy and a “pure”
white light. Early metal halide lamps
suffered from reliability problems, and
they exhibited shorter life, lower
lumen output and poorer lumen
maintenance than high pressure sodi-
um lamps. Their use in streetlighting
has therefore been very limited. In
recent years, metal halide sources
have been greatly improved. While
still having a performance slightly
lower than high pressure sodium
lamps, recent research indicates pos-
sible visibility benefits associated with
the white color of their light, as dis-
cussed later. If such benefits are
proven and accepted, metal halide
lamps may become a significant
source for roadway lighting in the
future, particularly if performance
continues to improve.
New Sources. New lamp types are
constantly being developed, as are
improvements to existing sources.
Presently there is a surge of interest in
Light Emitting Diodes (LEDs), and the
possibility is being explored of their
use in roadway lighting. LED efficacies
are improving rapidly, although white
versions do not yet approach those of
HID sources. LEDs offer extremely
long life and so could reduce mainte-
nance costs. A disadvantage is that
present LEDs are available only in very
low wattages, and therefore a large
number of these sources must be
clustered to provide the intensities
required for street lighting.
67
 As is typical in semiconductor pro-
duction, LED costs are decreasing
while performance is increasing. If
this trend continues, LEDs may
become an increasingly practical and
economical source for future road-
way illumination.
Another new source type is the
induction lamp, now available in sever-
al varieties. Being electrodeless, the
lamp life is extremely long, with
100,000 hours being claimed by man-
ufacturers. (HID lamp failure is fre-
quently related to electrode issues.)
Induction lamps tend to have a large
light producing area, as opposed to a
thin discharge tube. This creates diffi-
culties in producing accurate optical
control, which is likely to limit their
application in roadway lighting.
Luminaires
Efficient, effective roadway lighting
requires the development of very
specific intensity distributions, but
lighting systems of 100 years ago
Improved luminaires are now available
that concentrate more light onto the roadway and
less behind the curbs. However, the wisdom
of this approach has been queried
employed little or no optics. Bare
sources were used, or a source was
simply enclosed behind glass to pro-
tect it from the elements.
In the “white way” lighting of down-
town business areas, some systems
used bare incandescent sources strung
on wires between poles. Rows of
incandescent lamps also were attached
to arches spanning the roadway. Many
light poles suspended clusters of lamps.
Pole heights ranged from less than
three m (10 ft) to over 75 m (250 ft)!
Gradually, reflective and refractive
optics were introduced. Some of the
earliest such luminaires were simply
diffusing glass globes, but soon com-
plex prism formations were used to
scientifically control light.
Widescale use of reflectors came
with the introduction of the radical
wave reflector. It was basically a gen-
erally horizontal reflector placed
above a bare incandescent lamp, with
a wavy surface to scatter the upward
light in downward directions.
68
Meanwhile, more sophisticated
refractive optics were produced. For
vertical lamps, glass bowls were devel-
oped in a variety of shapes and optical
designs.Through proper prism design,
intensity distributions could be creat-
ed to match a range of roadway
geometries,appropriately tailoring the
light pattern to the area being lighted.
In the 1950s, a major trend in
street lighting luminaires started. It
was known that beams of high inten-
sity were required to be directed to
locations between poles to increase
the minimum illuminance and
improve uniformity. Such beams can
best be generated when the lamp
operates horizontally. By placing an
inverted bowl-shaped reflector
around and above the lamp, a high
proportion of the lamp lumens could
be directed out of the bottom of the
reflector opening. Placing a glass bowl
that is equipped with prisms beneath
the reflector allows the rays to be
redirected into preferred angles. High
intensity beams can be formed; light
directed rearward (“house side”) can
be reduced and redirected forward,
and intenties directed towards the
base of the pole also can be reduced.
Complex prismatic designs were
developed, and the “cobra-head” was
born (Figure 3). Cobra-heads have
dominated roadway lighting for 40
years and are still very widely used.
The 1970s ushered in the “off-high-
way” lighting system to address acci-
dents that occur when vehicles col-
lide with poles at the side of the road-
way. If the pole is moved away from
the highway, perhaps by about 10m
(30 ft.), these accidents should be
reduced. Casting light onto the road-
way from such locations, however, is
problematic. Luminaires using a spe-
cial reflector and refractor combina-
tion, and an inclined lamp, offer a solu-
tion. The system is widely used today,
particularly for freeways (Figure 4).
A further trend in roadway lighting
that is firmly established today is high
mast lighting. This form of lighting is
not new, and actually was widely used
with carbon arc sources. The princi-
ple is to light an entire area, not just
the roadway itself. A resurgence of
high mast lighting began in the 1960s,
using mounting heights often in the
range of 24 to 30 m, (80 to 100 ft.).
The most common application is for
the lighting of highway interchanges,
where the individual lighting of
numerous roadways and slip-roads
would be problematic. High mast
lighting is also believed to provide
improved visibility in such applica-
tions, versus conventional systems.
Due to servicing problems, lowering
devices were developed to bring the
luminaires to ground level for mainte-
nance (Figure 5).
While the cobra-head and its pris-
matic bowl became firmly entrenched,
there were increasing concerns about
one of its particular photometric char-
acteristics. Such luminaires emit a few
percent of their total light at angles
above the horizontal plane. When
many thousands of such luminaires
create uplight, the lumens entering the
sky can be significant. Starting in the
1970s, the “dark sky” movement
became influential. Its aim was,and still
is, to minimize upward lumens that
create havoc at astronomical observa-
tories and rob ordinary citizens of
clear views of the night sky.
The dark sky movement has not
eliminated the cobra-head luminaire
but virtually all manufacturers now
offer products that eliminate the pris-
matic bowl. Optical control is provid-
ed by reflectors, often with complex
designs, and a flat bottom cover glass
(Figure 6).
More and more of today’s new
roadway lighting installations are
being accomplished using full cutoff
luminaires, where no light is emitted
directly upwards (Figure 7).
Besides being more sky-friendly,
these luminaires typically reduce
glare, which if other factors are
equal, will improve highway visibility.
Full cutoff luminaires usually need
slightly closer pole spacings than
their cobra-head equivalents, and
thus system costs are a little higher.
Finally, light trespass refers to the
illuminating of areas outside the pri-
mary area being lighted. Improved
www.iesna.org
luminaires are now available that con- speed be incorporated into lighting foveal (on-axis) vision and peripheral
centrate more light onto the roadway design specifications? vision. However, little is known about
and less behind the curbs. However, • Peripheral Vision. It is generally their relative importance. Today, our
the wisdom of this approach has been accepted that roadway visibility is lighting design procedures are based
queried. Higher lighting levels on achieved through a combination of solely on foveal vision. If peripheral
areas peripheral to the roadway may
improve safety by increasing the visi- T H E R O A D T R AV E L E D
bility of hazards approaching the
roadway from the side. Much debate
is occurring on this topic.
FIGURE 1. Gas lighting was the standard
source prior to electric lighting.
Future Directions
The future is impossible to predict,
but another key area—in addition to
the development of new sources and
luminaire design (Figure 8)—con-
cerns developments in research and FIGURE 2. High power luminaires used carbon
design specifications. Possibilities arc sources from 1878 to the mid-1900’s.
include:
• Disability Glare. It is inevitable
that oncoming headlights will create
disability glare, no matter how care-
fully the headlamp systems are
FIGURE 3. The ubiquitous Cobra-head, used
designed. It is also known that such
with mercury and high pressure sodium lamps.
glare can be partially mitigated by
installation of fixed street lighting.
The exact number of oncoming vehi-
cles per minute that warrants the
use of fixed lighting is subject to FIGURE 4. The “Off-highway” lighting system,
some disagreement. More research consisting of high efficiency optics and a tilted
may provide answers. lamp. Poles are set back from highway behind
• Interaction of Vehicle Lighting and concrete barriers.
Fixed Lighting. Little is known about the
visibility effects created by the combi-
nation of vehicle headlights and road-
way lighting. Both are studied by their
respective authorities, but they may be FIGURE 5.High mast area lighting.
in conflict. The primary visibility mech-
anism provided by roadway lighting is
negative contrast: objects are darker
than the background against which
they are viewed. Just the opposite is
true for headlamp illumination: the FIGURE 6. The Cobra-head modified, using a
objects are lighted directly and are complex reflector and flat glass for glare and
light pollution control.
typically of higher luminance than the
background. Can the headlighting can-
cel the effect of the roadway lighting,
such that the object luminance
becomes nearly equal to the back- FIGURE 7. A “Shoebox” luminaire, with full
ground, rendering the object invisible? cut-off optics.
It can. Does this happen to such a sig-
nificant extent that we have to rethink
our design procedures? We do not
know.This is surely an area that needs
our attention.
FIGURE 8. Combining old and new.Traditional
• Vehicle Speed. Speed and visibility style luminaires now incorporate modern lamps
distance are related to accident rates and optics. Campus lighting, Reed College,
during conditions of fog, rain, snow Portland, OR. (Courtesy: Sarah K. Cotten, artist)
and darkness. How is vehicle speed
related to visibility, and how might

December 2004 LD+A 69

 vision is important and there is
research to suggest it may be very
important, it should not be over-
looked. If a significant proportion of
accidents are caused by a failure of
the peripheral vision system, then we
should specify lighting that takes
peripheral vision into account.
• Spectral Effects. There is a growing
body of knowledge indicating that
Roadway lighting
has been shown to
influence accident
rates. No other
area of lighting is
so closely tied to
life and death
lamp spectral distribution can affect
the visual performance of certain
roadway tasks. Lamp rated lumens,
used for all roadway lighting designs,
are based on the application of the
photopic V(λ) curve, derived for the
seagull
70
cone receptors in our retina. (See
IESNA Handbook).Virtually all road-
way lighting systems, however, pro-
duce mesopic lighting levels, where
vision is achieved using both the rod
and cone retinal photoreceptors. The
rod receptors have a quite different
spectral response curve,V’(λ), due to
the Purkinje shift effect. Rods re-
spond most strongly to blue-green
light, which is present substantially in
white light sources but only is pro-
duced to a small extent in yellow
sodium lamps. Rods respond only
weakly to yellow sodium wavelengths.
The system of rating lamp lumens,
from which all roadway lighting quan-
tities are calculated, is therefore not
meaningful for vision achieved using
rod receptors.
Latest evidence suggests that the
rods may even be the dominant pho-
toreceptors at night. Because under
low level lighting conditions,the cones
are only weakly stimulated, and the
main task of vision may rest largely
upon the rods. Perhaps reduced
activity of the cones is not a problem
for the visual system, as one of the
primary visual needs supplied by the
cone system, that of detail discrimina-
tion, may not be critically needed at
night (except for reading signs and the
instrument panel.)
What is significant, however, is that
the lighting industry may be using a
system of photometric units and
quantities that is quite inappropriate
for the nighttime task. If research con-
firms these present indications, and
lumen ratings are modified according-
ly, white light sources will be seen to
have effective efficacies far above
those of sodium sources.
No Complacency
What a century it has been! From
the horse and buggy to the Corvette;
from the hot air balloon to the Space
Shuttle, and from the gas lamp to
today’s ultra-high efficiency light
sources. There must be no compla-
cency, however, for technology is
moving faster than ever.
The most pressing need is more
research. Roadway lighting has been
shown to profoundly influence acci-
dent rates. No other area of lighting
is so closely tied to life and death.
Ongoing discovery will allow us to
develop and implement improved
products, specifications and design
techniques. The achievements of the
industry in bettering mankind may be
as significant over the next 100 years
as it has been over the century since
the Society’s founding.
The author wishes to thank Merle
Keck, Herbert Odle, Richard Stark and
James Havard for their kind assistance in
the preparation of this article.
LD+A’s “Century Series”celebrates pio-
neers, achievements and developments in
lighting, as IESNA approaches its centenni-
al in January 2006.
About the Author: Ian
Lewin, Fellow IESNA,
(Member 1968), is presi-
dent of Lighting Sciences
Inc., a research and pho-
tometric test equipment
company based in Scottsdale, AZ. He
served as president of IESNA from
1999-2000, was awarded the IESNA
Medal in 1997 and the Louis B. Marks
Award in 2003, and has also received the
Society’s Distinguished Service Award.
www.iesna.org
LIGHT PRODUCTS
Fulham's compact lamps are
offered in two and four-pin configu-
rations and are available in a multi-
tude of sizes and shapes to fit any
need. Uses range from commercial
applications and under-cabinet
lighting to aquariums and wall
sconces. Lamps provide longevity,
high output and, when accompanied
by Fulham ballasts, create an afford-
able and efficient lighting solution.
www.fulham.com
New Metal Crafts' wall sconce
features a cast tapered, shaped arm
is available in satin brass or satin
nickel and has a six-sided base
design that is repeated on the fix-
tures frosted glass shade. The fix-
ture includes a 100 watt bulb.
www.newmetalcrafts.com
December 2004 LD+A
The Sierra pendant from Bruck
Lighting is Italian amber translu-
cent glass with the wire mesh that
surrounds the cylinder being
pressed in the glass before it cools.
The white scavo provides a rustic
matte finish. The Sierra is available
as a monopoint or a uni-light com-
patible with Bruck track systems.
www.brucklighting.com
Cherry Electrical Products’
SRJ panel-mount rocker switch is
suited for applications with current
ratings up to 20 amps at 125 VAC.
The switch locks into a panel cut-
out with a diameter of .787 in. (20
mm). Common applications include
household appliances, surge protec-
tors and lighting controls. The
switch is available in both lighted
and non-lighted designs. Lighted
versions feature AC-powered neon
lamps for both 110VAC and
220VAC applications. The standard
switch is available in over 30 differ-
ent combinations of actuator and
housing colors.
www.cherrycorp.com
Waldmann Lighting’s Milano
task light is ideal for student desk
areas and offers a prismatic diffuser
which softens the light directly to
the desktop and reduces glare off
computer screens. The lamp also
features a strong internal spring-
loaded arm system that provides
precise control and stay-in-place
positioning. An ABS head offers a
180 deg swivel and 120 deg tilt for
maximum light control and precise
positioning. An energy efficient 13-
W compact fluorescent lamp pro-
vides 10,000 hours of lamp life and
4100K color temperature.
www.waldmannlighting.com
The QO unit from Q-Tran Inc.
offers the same quality as the familiar
QX and QT indoor models, but
proudly boasts UL wet listed 1838
certification.The QO unit has multiple
taps (15, 14, 13 and 12 on the sec-
ondary and switched/dimmed taps on
the primary) and circuit protection on
both the primary and secondary sides
as well as a removable power tray.The
QO unit houses a single 150-W to
750-W toroid or two toroids to con-
trol two switch legs independently
with one enclosure.
www.q-tran.com
71
LIGHT PRODUCTS
The HIGH-ZAK self-flanged
reflector from LITON Lighting is
an iridescent-free reflector that
eliminates disturbing rainbow-type
distortion and unpleasant discol-
oration common to ordinary
downlights, and reduces harmful
UV effects.The pure light from the
reflector transforms interior space
with soft, uniform ambient illumina-
tion, providing exceptional visual
comfort for occupants. Self-flanged
design with no separate trim ring
eliminates any light leakage. HIGH-
ZAK is the professional’s choice for
quality applications requiring a bet-
ter look and ambiance.
www.liton.com
fulham
72
Technical Consumer Pro-
ducts, Inc. (TCP) introduces the
PL lamp outdoor porch fixture, pro-
viding homeowners an energy effi-
cient alternative in decorative exte-
rior lighting. Using a 13-W, four pin
electronic lamp, equivalent to a 60-
W incandescent lamp, it has an aver-
age rated lamp life of 10,000 hours
and average ballast life of 50,000
hours, reducing maintenance and
labor costs associated with lamp
replacements. The lamp is also UL
approved for wet locations and is
well suited for either wall mount or
ceiling mount applications.
www.tcpi.com
Foster Transformer’s line of
lighting control transformers, which
automatically reset after experienc-
ing an overload situation, are ideal
for lighting control panels or wher-
ever Class 2 protection is required
to actuate banks of relays, contac-
tors, solenoid valves, pilot lamps or
similar loads. Input voltages available
include 115, 220, 240, 277V, 347, and
115/277 volts or 115/240/277, all
with 24 volt output.
www.foster-transformer.com
CPS Corporation’s AlSiC
(Aluminum Silicon Carbide) is a
metal matrix composite ideal for
thermal management of high flux
LED products, such as signal lamps,
back lighting for signs, low profile
luminaries, task lighting and display
lighting.AlSiC’s high thermal conduc-
tivity value of 200-W/mK provides
the thermal management that is crit-
ical in the design of high flux LED
lamps.This high thermal conductivity
value allows it to achieve maximum
brightness in LED lamps at the low-
est possible operating temperature.
www.alsic.com
Gigahertz-Optik’s WPD series
of weatherproof detectors are
designed for year-round outdoor
light measurement in solar and solar
simulated optical radiation monitor-
ing applications. To withstand the
most demanding environmental
conditions the entire light sensor is
shielded in a rugged metal housing
with the front input optic enclosed
and sealed under a precision-made
quartz dome. Any Gigahertz-Optik
light detector elements can be inte-
grated into the WPD housing cov-
ering the ultraviolet, visible or near-
infrared spectral regions.
www.gigahertz-optik.com
www.iesna.org

Luraline’s Reflecta series of tradi-
tional, angled, tapered and wave RLM
designs brings function and flair to
retail, hospitality, contract applica-
tions and public spaces. Reflecta
shades are especially suitable for
exterior installation, including above
and below awnings, on building
facades, or as signage lights or wall
washers.
www.luraline.com
December 2004 LD+A
Bruck Lighting’s 360 deg
adjustable recessed three watt single
LED is small in size with no visible
screws, 50,000+hour lamp life, lack
of UV, rich color options and cool
beam allow for a wide variety of
applications. Available with narrow,
medium and elliptical beam spreads.
www.brucklighting.com
alp
Designed to ensure a positive
connecting, lightweight, non-cor-
roding electrical connection assem-
bly for high amperage power distri-
bution, Duraline’s 600-V connec-
tors are ideal for industries that
require heavy-duty temporary con-
nections for power equipment or
lighting, such as shipyards, process-
ing plants, chemical installations and
public utility installations. The con-
nectors offer low maintenance by
allowing for quick and easy connec-
tion and disconnection without
using external metal parts or tools.
www.jbn-duraline.com
73
LIGHT PRODUCTS

Boston Retail’s T-mold is a fast

and cost effective way to protect
the tops and sides of your counters
and fixtures while adding a decora-
tive edge.The pliable and flexible T-
Mold installs to radius corners and
curved or round surfaces with ease.
Available in single durometer config-
uration or dual durometer top (85)
and barb (95), as well as a variety of
in-stock profiles and lengths. This
protective edging solution is also
offered in a matte or gloss finish to
match any store décor.
www.bostonretail.com

sentry

Architectural Area Lighting’s

Arts & Crafts product line has a
refractor system that includes a
symmetric and asymmetric pattern,
as well as a lightly diffused lens
option for glare-free illumination.
Full-cutoff optics is available for
Dark Sky compliance. The line uti-
lizes efficient lamp sources and
electronic ballast option for better
color rendering and efficiency.
Hood finishes include stainless
steel, cooper, opal acrylic, mica and
painted aluminum. Mounting config-
uration include post top, wall and
pendant mount.
www.aal.net

74 www.iesna.org
 The Howard Brandston Student Lighting
Design Education Grant was established to encourage and
recognize students who have demonstrated exceptional
professional promise through the presentation of an origi-
nal and ingenious solution to a supplied design problem.

The award comprises a plaque and a check

in the amount of $1,000.

Group entries will be accepted. However, if a

group entry is selected, the group will receive the plaque
and the $1,000 check will be presented to the group as
a whole.

To be eligible to enter this competition,

applicants must be enrolled as full-time students in an
approved academic degree program. Approved programs
are those offering a substantial core of illumination stud-

The ies and are either engineering technology programs

accredited by the Accreditation Board for Engineering
and Technology; architecture programs accredited by
the National Architectural Accrediting Board; interior

Howard Brandston design programs accredited by the Foundation for

Interior Design Research; or theatre programs accredit-
ed by the National Association of Schools of Theatre. If
there is a question about accreditation, please query.

Student Lighting Please note that the deadline for receipt of

completed entries in the New York offices of the

Design Education Illuminating Engineering Society of North America is

May 1, 2005. Judging of entries will take place in mid-
May.

The purpose
Grant 2005 of the Howard Brandston Student
Lighting Design Education Grant is to foster good lighting
and to advance the appreciation of lighting as an art.
 Plan View
Project Description
In 1922 Bertram Grosvenor Goodhue was commissioned to
design this small stone church for a beautiful bedroom com-
munity for the metropolitan area of New York City. The
church was constructed in a traditional Gothic form with
modern adaptations consistent with Goodhue’s architec-
tural stylings. Built during the arts and crafts movements,
much of the interior represents this era in good fashion.
The walls and pilasters of the nave are constructed of
rough limestone from floor to ceiling with gothic arches
penetrating from the nave to the side aisles and chancel
area. The plaster walls of the north and south side aisle are
painted a light coral color (50% reflectance). The floor of
the nave, sanctuary, and chancel are made of Moravian
tiles and Vermont green slate. The altar is constructed from
limestone with a red and gold, wheat and grape pattern
along the top. The reredos is carved oak and limestone
depicting the Last Supper. The rood beam, adorned with a
figure of Jesus upon the cross, flanked on either side by St.
John and St. Mary; spans the arched ceiling between the
nave and the chancel area. The ceiling is intricately paint-
ed with colorful designs and gold gilding on oak panels.
The church is central to the community sitting atop a hill
overlooking the downtown area and train station. It is used
primarily for worship services on Sundays with a congrega-
tion of 350+ families and small Eucharist services held on
Tuesdays and Thursdays in the Lady Chapel. Four evenings
a week, choir and hand bell rehearsals take place in the
chancel area of the church.
The existing lighting fixtures are original to the space and
while historical, do not provide enough lighting for the
aging population of the congregation (only one fc at the
center aisle.) However, the rector and congregation are
extremely proud of the church’s heritage and do not want
to lose the appeal of its current historical character.
Electrical wiring to the existing fixtures is provided in 3/4-
inch conduit built into the stone walls and is contemporary
with the construction of the church. The existing electrical
service for the entire building is 600 amps.
The judges will expect a lighting design which takes fully into
account the complexities of the service throughout the church
year, the reading challenges of the congregation, the illumina-
tion and accenting of the church’s architecture and decora-
tion, and preservation of the historic feel of the interior.
Any other details necessary for the completion of your light-
ing design are to be developed on your own or inferred from
 Section Looking South

Section Looking East

the information provided: SK-1: Plan View, SK-2: East

Section, SK-3: South Section, SK-4: West Section; and a
picture from the church archives (please note that fill light
was used to take this photograph over five years ago.)
Requests for further information will not be honored as this
would be an unfair advantage.

High quality presentations are expected however entrants

Section Looking West
(through Chancel)
are advised to concentrate their efforts on design content
versus elaborate computer graphic presentations.
PROJECT REQUIREMENTS TIPS FROM THE JUDGES
One 24 x 36 inch mounted board including the following: 1. Don’t spend a lot of time on computer
graphics. We appreciate your “skill,” but
1. Clearly labeled lighting plan. fancy graphics often create more ques-
tions than they answer.
2. Illustrative material demonstrating the lighting intent. This may 2. Make sure there is good contrast
include, but is not limited to perspectives, section, elevations, between the text and the background.
details and fixture drawings. 3. Use a point size that allows easy reading.
4. If you have any doubt whether or not
3. A brief (250 word maximum) written statement of the objectives
something is clear, it usually isn’t.
and goals of the lighting design concept and description of the
5. The written statement should clearly
design process used. (This may be provided on a separate
define the concept, design process and
81/2-inch x 11-inch sheet or mounted on the board.)
lighting program.
4. A lighting fixture schedule. This must include but is not limited to, 6. Lighting should be the prevalent focus.
fixture designations and lamp types. 7. Reflective ceiling plans must be easily
readable. The judges generally have 10
5. Concept control schedule (if applicable). minutes to review each project. The
judges do not use magnifying glasses.
6. Titles of drawings and scale notations are recommended. Place 8. Include lighting plans for the entire pro-
you name address, and school on the back of each board. ject, not selected areas.

7. Projects will NOT be returned if the address is outdated. Deadline May 1, 2005
Any projects returned to us by the post office will be discarded.

The Howard Brandston Student Lighting

Design Education Grant 2005
Student Design Application Form
AFFIX THIS FORM TO THE BACK OF YOUR BOARD AND SEND TO:
Howard Brandston Student Lighting Design Education Grant
c/o Illuminating Engineering Society of North America (IESNA),
120 Wall Street, 17th Floor, New York, N.Y. 10005

Name of Student Designer______________________________________________________________________________________________

Address______________________________________________________________________________________________________________

City/State/Zip_______________________________________________________________________________________________________

Phone ( )_______________________________________________Fax ( )________________________________________________

Email:___________________________________________________________________Are you a member of IESNA?____________________

School__________________________________________________________________Instructor_____________________________________

School Address________________________________________________________________________________________________________

School City/State/Zip _________________________________________________________________________________________________

Instructor’s Phone ( )___________________________________________________Fax ( )_______________________________

PLEASE BE SURE ALL MATERIALS SUBMITTED HAVE NAME OF DESIGNER(S), SCHOOL AFFILIATION, AND ADDRESS.
THIS INFORMATION MUST BE AFFIXED TO THE BACK OF EACH BOARD AND SCRIPT SUBMITTED.