The magazine of the Illuminating Engineering Society of North America

QUALITY LIGHTING IN A GREEN WORLD

September 2008
Lighting Design and
Application
www.ies.org
 September 2008
Vol.38/No.9
SUS TAI NAB LE D E S I G N

56 50 44 38

features
38 SITE AND SENSIBILITY
Papier-mâché and butterfly wings (would you believe it?)

departments influenced lighting decisions at the Ramsey County Library

44 OPEN YET CONCEALED

Glass and passageways throughout the office symbolize
12 Editorial
Oaktree Capital Management’s transparent corporate
14 Letters
culture, but fixtures hidden in the ceiling hold the key to
16 Executive Vice President Reports
the lighting
20 Updates
26 Energy Advisor
50 BEYOND THE HYPE: WHAT DOES GREEN
30 Education
REALLY MEAN?
36 IIDA Merit Badges
While many bow at the altar of green design, the real
70 Light Products
goal should be “quality lighting,” not “sustainability.”
76 Events
Five lighting professionals offer their take
82 Classified Advertisements
83 Ad Offices & Ad Index
56 WALKING THE WALK
84 New and Sustaining Members
When it came time to light the USGBC’s renovated
87 IES FYI
headquarters, this proponent of green building design
had to practice what it preaches

61 OPTIMIZING MUSEUM LIGHTING

An early and honest dialogue between lighting designers
and museum operators can help save energy and cut costs

66 CONTROLS IN K-12
ON THE COVER:
Sustainable design should be inseparable from quality lighting, The changing K-12 classroom combined with the ‘flex’ space
and not just limited to replacing old lamp sources with new ones. in today’s schools demands a variety of control strategies

EDITORIAL
A “ban” is such a harsh remedy: it’s so absolute and
sure to invite resistance. Instead of an outright ban, why not attempt to “nudge”
a decision-maker away from an undesirable activity and toward the preferred
alternative?
That’s the objective behind “libertarian paternalism”—the subject of the new
book Nudge by Richard Thaler and Cass Sunstein, professors at the University of
Chicago. Libertarian paternalism goes something like this: create a “choice archi-
tecture” that steers people toward one type of behavior or action over another,
without banning choices. It may involve changing the “default option” for many
choices. For example, prospective organ donors currently need to opt into the
program through their state DMV; the libertarian paternalism model would require
them to opt out. The result would be the desired outcome—more organs available
for transplant. Another example involves retirement savings. Corporate 401(k)
programs require opting in; changing the choice architecture would make contri-
butions mandatory unless an employee actively opts out.
Choice architecture can also influence how we select goods and services; the
authors advocate something as simple as putting the fruit at eye level in the school
cafeteria, while placing desserts in a less convenient location: a nudge toward
health food, not a ban of junk food.
What does this have to do with lighting? The scenario above could apply to the
ongoing incandescent vs. CFL debate. If, for the sake of argument, the goal is to
make CFLs the “default option” for consumers, then retailers can place them in the
eye-level racks (or stock more of them), while incandescents are placed on less-
accessible shelves. Again, a nudge toward CFL, not a ban of incandescent.
The idea of choice architecture is more nuanced when it comes to other areas of
lighting. Consider the question of sustainable/green design (see “Beyond the Hype:
What Does Green Really Mean,” p. 50). The frame of reference for sustainable design
usually focuses on numbers: code compliance, watts per sq ft, lumens per watt, LEED
points, et. al. What’s often missing is an emphasis on quality. The challenge for the
lighting community, then, is to get clients and end users to make choices based on
a deliverable of quality lighting, not a deliverable based on numerical metrics or the
selection of a hot technology (CFLs? LEDs?) over an older one. IES past-president
Kevin Flynn has the last word: “Changing a lightbulb is easy, setting a new standard
is easy; changing how we act and design...changing people’s minds and habits, that
is the hard work yet to be done.”
A nudge in the right direction.
PAUL TARRICONE
Editor/Associate Publisher
ptarricone@ies.org
12
Publisher
William Hanley, CAE Vol.39/No.9
Editor/Associate Publisher
Paul Tarricone
Associate Editor
Rebecca Falzano
Assistant Editor
Roslyn Lowe
Art Director
Samuel Fontanez
Associate Art Director
Petra Domingo
Columnists
James Brodrick • Mark Lien
Paul Pompeo • Willard Warren
Book Review Editor
Paulette Hebert, Ph.D.
Marketing Manager
Clayton Gordon
Advertising Coordinator
Leslie Prestia
Published by IES
120 Wall Street, 17th Floor
New York, NY 10005-4001
Phone: 212-248-5000
Fax: 212-248-5017/18
Website: www.ies.org
Email: ies@ies.org
LD+A is a magazine for professionals involved in the art, science,
study, manufacture, teaching, and implementation of lighting. LD+A
is designed to enhance and improve the practice of lighting. Every
issue of LD+A includes feature articles on design projects, technical
articles on the science of illumination, new product developments,
industry trends, news of the Illuminating Engineering Society of North
America, and vital information about the illuminating profession.
Statements and opinions expressed in articles and editorials in LD+A
are the expressions of contributors and do not necessarily represent
the policies or opinions of the Illuminating Engineering Society of
North America. Advertisements appearing in this publication are the
sole responsibility of the advertiser.
LD+A (ISSN 0360-6325) is published monthly in the United States of
America by the Illuminating Engineering Society of North America,
120 Wall Street, 17th Floor, New York, NY 10005, 212-248-5000.
Copyright 2008 by the Illuminating Engineering Society of North
America. Periodicals postage paid at New York, NY 10005 and
additional mailing offices. Nonmember subscriptions $44.00 per year.
Additional $15.00 postage for subscriptions outside the United States.
Member subscriptions $32.00 (not deductible from annual dues).
Additional subscriptions $44.00. Single copies $4.00, except Lighting
Equipment & Accessories Directory and Progress Report issues
$10.00. Authorization to reproduce articles for internal or personal
use by specific clients is granted by IES to libraries and other users
registered with the Copyright Clearance Center (CCC) Transactional
Reporting Service, provided a fee of $2.00 per copy is paid directly
to CCC, 21 Congress Street, Salem, MA 01970. IES fee code: 0360-
6325/86 $2.00. This consent does not extend to other kinds of copying
for purposes such as general distribution, advertising or promotion,
creating new collective works, or resale.
POSTMASTER: Send address changes to LD+A, 120 Wall Street,
17th Floor, New York, NY 10005. Subscribers: For continuous service
please notify LD+A of address changes at least six weeks in advance.
This publication is indexed regularly by Engineering Index,
Inc. and Applied Science & Technology Index. LD+A is avail-
able on microfilm from Proquest Information and Learning,
800-521-0600, Ann Arbor, MI
www.ies.org
LETTERS
CFLs and Energy
Consumption
In the “President’s Perspective”
column (LD+A, May), Kimberly
Mercier wrote, “How many people
know that energy consumption in
more than one province in Canada
will actually increase if every incan-
descent lamp is changed to CFLs?”
Will she kindly name the provinces
and detail the reasons for the above
interesting situation?
Ernest Wotton, Fellow IES
Toronto
Kim Mercier Responds: I attended
an IES section meeting in December
2007 where University of Calgary
graduate students in environmental
engineering studies were present-
ing their preliminary findings on a
research study that they are per-
forming for Environment Canada.
What was so fascinating about the
presentation was that the research
team was multi-disciplinary and
the students represented engineer-
ing, environmental and, I believe,
chemical/petroleum engineering
disciplines. The study included a
lot of interconnected environmental
impact that we—in the lighting/elec-
trical industry—are not accustomed
to receiving.
BACk ISSUES
AR E NOW O N LI N E
14
It was a spoken presentation
with PowerPoint. There were no 2008-2009
Board of Directors
handouts because the white paper IES
had not been completed for sub-
PRESIDENT
mission to the client. I recall that Ronald Gibbons, Ph.D
Virginia Tech Transportation Institute
this situation occurred in three
provinces and that Quebec was one PAST PRESIDENT
Kimberly Mercier, PE
of those provinces. This surprising Lighting Design Innovations, Ltd.
electricity consumption figure was
VICE PRESIDENT
a result of the large installed base (President-Elect)
of aged, electric resistance heating Fred Oberkircher, LC, FIES
Texas Christian University
systems. The calculations showed
that the efficiencies of the heating TREASURER
Denis Lavoie, LC
systems, to compensate for the LUMEC, Inc.
negative heating differential in the
EXECUTIVE VICE PRESIDENT
lamp replacement, yielded higher William Hanley, CAE
electric consumption. DIRECTORS
Now, as I indicated, this was a David A. Baum
Martin Architectural
presentation of preliminary find-
ings. I did drop a note to the advis- Nick Bleeker
Day-Brite Capri Omega
ing professor asking about antici-
pated publication date. He indicat- Veda Clark
Litecontrol Corporation
ed that he is currently working with
Kevin Houser, Ph.D.
the graduate students to finalize
The Pennsylvania State University
the paper for publication. As soon
Terrance Kilbourne, LC
as it becomes available, I will try TEC, Inc.
to get you a copy for reference. A
Craig Kohring
summary article may also be of mda engineering, inc.
general interest to the readership
Russ Owens, LC
of LD+A. West Coast Design Group
Thank you for your continued
Daniel Salinas, LC
membership and interest in the IES. Nelson Electric, Inc.
Ralph Smith, P. Eng.
Ralph Smith Engineering Inc.
Raymond Yeager, PE, LC
Holophane
Robert F. Boehm, Ph.D, PE
Howard R. Hughes College of
Engineering
W W W. I ES .O RG
www.ies.org
EXECUTIVE VICE PRESIDENT REPORTS

the Society in March of 1971.

We get letters. We talk about the IES Actually, I have been a member for much longer. I
as a community, as a unified body of individuals sharing
realize that any break in membership means a new start.
a common interest. When we speak about conferences or
However, I have been a member since joining the Society
section meetings we frequently use words such as net-
in about 1947 or 1948. I was a member of what I believe
working, camaraderie, fellowship and friendship.
was the only, and original, college chapter of the IES which
Many members, I’m sure, take some of that element of
was at the University of Illinois in Champaign-Urbana, IL. I
the Society—an emotional bond so to speak—for granted.
was also the president of the chapter in one year.
Yet every once in a while we receive a letter from a long-time
I graduated from the university in February 1950 and joined
member; the following is taken from a letter by G. R. Peiree:
the Westinghouse Electric Corporation and went through their
“I am now approaching my 94th birthday…This letter is
one-year training program for all starting engineers. I was then
a thank you to the IES for the years they have kept me on
assigned to the Lighting Division in Cleveland, OH, in about
their rolls and sent me LD+A magazine without charge for
December 1950. I was a member of the IES until about 1969
either dues or the magazine. I joined the Society in 1947,
or so. They (Westinghouse) would no longer pay our profes-
and have enjoyed reading LD+A to observe the progress
sional dues, so I (reluctantly) dropped my membership.
made in the lighting field over the years. However I think
I left Westinghouse in about March of 1971 to join the
it is time to request you no longer send me LD+A. I have
Federal Highway Administration in their Street and Highway
prepared a list of persons and organizations to be notified
Lighting Branch, where I later was made chief of that branch.
at the time of my death and IES is on that list.
One of the first things I did upon relocating to the Washington
I attended the University of Illinois at Champaign
area was rejoin the IES. Thus my record shows as joining in
Urbana, IL, from 1932 to 1937 during the middle of the
1971 where I actually joined in 1947 (or 48) and except for
great depression, graduating with a MS in Electrical
those approximately two years, have been a member for
Engineering in June 1937. I got a job working as an elec-
nearly 60 years. (The federal government doesn’t pay our
trical engineer at $100 per month for a company in St.
dues either, but I believed it necessary to join and pay my
Louis. A year later the company shut down for a lack of
own dues to add to my professional learning.)
funds. I then got a job in September 1938 as an instructor
You probably don’t have real old records, but if you do,
in electrical engineering at $180 per month for 10 months,
I think that I have been a member for more years than
at my alma mater—the University of Illinois—and started
almost anyone (and at 82, am still going strong).
a 35-plus year career as a teacher.
I do treasure my being elected to the rank of Fellow
By the end of the World War II, I had been promoted to
mainly in honor of teaching roadway lighting in all of the
assistant professor. I started teaching a Basic Illumination
50 states’ highway departments, plus being the original
and Building Wiring course, a required course for sopho-
source behind the energy conservation effort of having
more EE students and a modified version required of all
most of the states change from mercury to high pressure
architecture students, under the supervision of John Otto
sodium in the late ‘70s and ‘80s.
Kraehenbuehl, with whom I had taken illumination courses
Thank you again.”
at both the undergraduate and graduate level as a student.
In 1973, I was made a Fellow of the Society.
Keep the cards and letters
Thank you again for the years of association.”
coming.
Charles W. Craig writes: WILLIAM HANLEY, CAE
“Thank you very much for your letter and the certificate
showing that I am now a Fellow Emeritus having joined

16 www.ies.org
UPDATES

Higher Light Schools Work

Levels May to Win Green
Defend Against Makeovers
Dementia A program designed to “green”
schools in cities across the coun-
According to the results of a five- try will launch this fall in Chicago,
year Dutch study reported in The Miami and San Francisco. The Green
Journal of the American Medical Schools Initiative is sponsored by CFL
Association (JAMA), higher lighting manufacturer TCP, Inc., in partnership
levels might have the ability to counteract dementia. with CBS Corporation and EcoMedia.
Dementia commonly disturbs sleep/wake cycles and also causes A K-12 school in each of the three
deterioration of cognition, mood and behavioral organization. The cities will be awarded a state-of-the-
1999-2004 Dutch study looked into these issues by comparing the art green makeover including ele-
impact of lighting on a sample comprising 189 residents of 12 assist- ments such as solar panels, an ener-
ed-care facilities. The residents—90 percent women—averaged 85.8 gy-efficient lighting retrofit, green

years of age; 87 percent had been diagnosed with dementia. roofs and tree planting, among other

Higher-wattage lamps (light bulbs or tubes) were installed in ceiling sustainable programs.

fixtures of six facilities. The new lighting produced 1,000 lux (an amount As the official lighting sponsor, TCP

of light equivalent to 93 footcandles), or about 50 percent more than the will provide lighting products to each
of the winning schools. TCP is also
illuminance commonly found in many open-office areas. In the other
incorporating its school fundraising
six facilities, indoor lighting produced about 300 lux. In all 12 facilities,
program into the program, which will
the lighting was used in what was termed a “whole-day” mode; i.e.,
give students the opportunity to sell
from 9 a.m. to 6 p.m. In addition, one group was given 2.5 mg of mela-
CFLs to generate funding for extracur-
tonin each evening, while another received a placebo. Melatonin levels
ricular activities or future environmen-
normally build in our blood while we sleep, then drop during the day in
tal projects in their schools.
response to light. All subjects were randomized to treatment.
The program works as follows:
According to the report, the 1,000-lux lighting by itself reduced cog-
Students will be asked to submit cre-
nitive decline by 5 percent, symptoms of depression by 19 percent
ative submissions to express what
and physical functional decline by 53 percent. While those who took
“being green” means to them and
melatonin enjoyed 25 percent more uninterrupted sleep, melatonin why their school should win the green
alone tended to aggravate withdrawal and depression. The combina- makeover. Top entries will be high-
tion of higher levels of whole-day lighting and melatonin increased lighted on CBS’s TV, radio and other
sleep efficiency by 3.5 percent, reduced nocturnal restlessness by 9 media outlets. The winning schools
percent and reduced agitated behavior by 9 percent. will then be announced this winter,
A noted British researcher of circadian rhythms and Alzheimer’s with the makeover scheduled for com-
disease, Dr. Michael Hastings, was quoted by BBC News as saying, pletion by spring of 2009.
“Although 5 percent may not sound like a huge amount, it compares
well with treatments such as Aricept designed to slow the progres-
sion of the illness. Over the course of Alzheimer’s, it could represent
six months, and you have to remember that the light therapy is com-
pletely noninvasive, and melatonin is a very gentle drug.” + E-mail a letter to
the editor:
ptarricone@ies.org

20 www.ies.org

Acuity
Announces
Expansion
of Besal
Scholarships
Acuity Brands Lighting has expand-
ed the number of annual grants to
Besal Scholars at U.S. universities
and colleges. During its 25-year his-
tory, the Besal Lighting Education
Fund has provided over $500,000 in
scholarships to more than 200 stu-
Besal Scholars.
dents who plan to pursue a career
in the lighting industry. Established
by Lithonia Lighting in 1983 in honor
of Robert J. Besal, the fund receives
support from employees and sales
representatives of the company.
During this year’s LIGHTFAIR, Acuity
Brands Lighting held the first-ever
reunion of Besal scholars at a lun-
cheon hosted by David Komonosky,
LC, of Performance Lighting Systems
and chairman of the fund. Besal
scholarships are merit-based, and
the program is administered by
the IES. Among the universities
that have participated in the pro-
gram are University of Colorado,
Pennsylvania State University,
University of Kansas, Kansas State,
Rensselaer Polytechnic Institute and
the University of Nebraska.
LD+A September 2008
UPDATES
NEMA Publishes Limits
on Mercury Content in
Self-ballasted CFLs
The National Electrical Manufacturers Association (NEMA) has published
LL 8-2008 Limits on Mercury Content in Self-ballasted Compact Fluorescent
Lamps. This publication has been published by the NEMA Lamp Section,
based on discussions with representatives of the U.S. Environmental
Protection Agency (EPA), the U.S. Department of Energy and the Natural
Resources Defense Council. It covers limited integral, self-ballasted compact
fluorescent lamps of all base types, such as E26 and GU24.
LL-8 responds to utilities, environmental groups, energy-efficiency consor-
tia, EPA and other stakeholders, including retailers, who have all expressed
a desire to limit the amount of mercury used in self-ballasted CFLs. As a
result, the NEMA Lamp Section and its technical committee took the initia-
tive to implement this voluntary commitment. Participation is open to all CFL
manufacturers and suppliers, not just to NEMA members.
This document provides an industry process to commit to a voluntary
maximum mercury dose level per lamp. It applies to integral, self-ballasted
compact fluorescent lamps manufactured or imported after April 15, 2007,
thus insuring that manufacturers have sufficient time to manage their supply
chains. A free electronic copy may be downloaded or a hard copy may be
purchased for $28 by visiting NEMA’s website at www.nema.org/stds/LL8.
cfm, or by contacting IHS at 800-854-7179 (within the U.S.), 303-397-7956
(international), 303-397-2740 (fax), or online at www.global.ihs.com.
The New School Launches
Environmental Studies
Program
The New School, using its home in New York City as its laboratory, is launch-
ing an undergraduate degree program in Environmental Studies that is amongst
the first to bring together urban ecosystems and sustainable design. Pending
approval of the New York State Department of Education, the program will focus
on hands-on engagement with the city’s natural ecosystems, which include a
large estuary, fisheries, wildlife and wetlands, to see firsthand how human activ-
ity in an urban setting can impact the environment. Students in this program will
engage with the community to create solutions to today’s critical environmental
problems, particularly those found in urban ecosystems. This interdisciplinary
program includes both a Bachelor of Science and Bachelor of Arts.
“The environment is not just about rainforests and the polar ice caps, but also the
cities in which most of the world’s population lives,” said New School President Bob
Kerrey. The program will accept its first class of students in fall 2009.
21
UPDATES

Maintenance Matters, Too, NLB Elects

When It Comes to CFLs ExCom
The labor cost of replacing incandescent bulbs can easily exceed the cost of the
Douglass Baillie (Acuity Brands
energy they consume, according to a statement issued by the National Lighting
Lighting) has been elected chair of
Bureau. NLB Director Cary Mendelsohn says that switching from incandescent to
the National Lighting
CFL can achieve significant labor savings that can go overlooked when people fail to
Bureau. Susan Bloom
consider the time and motion associated with the replacement of a single lamp.
(Philips Lighting and
According to Mendelsohn, relamping labor involves notifying maintenance
Advance) was elected
that a bulb needs to be replaced, scheduling the replacement, implementing the
vice chair and Robert
replacement, obtaining a ladder or other necessary equipment, moving furniture
Colgan, Jr. (National Baillie
for safe access to the fixture, discarding the lamp and possibly even filling out
paperwork. Lamp replacement time and cost can be significantly impacted by Electrical Contractors

the maintenance philosophy employed, i.e., spot relamping vs. group relamping. Association) was elected secretary/

While it may seem wasteful with group relamping to replace a lamp that still treasurer. Others elected or re-elect-

operates, the value of the labor savings—about 80 to 90 percent—justifies the ed to serve on the 2008 Executive

practice, according to Mendelsohn. Committee are John Coventry

“Group relamping doesn’t eliminate the need for spot relamping, but it greatly (International Association of

reduces spot-relamping requirements when the lamps are long-lived, like CFLs. Lighting Designers), Jon A. DiGesu

Especially when the number of incandescent lamps is relatively small—say, (OSRAM Sylvania, Inc.), Mary

100 sockets or less—few managers replace them on a group-relamping basis,” Beth Gotti (GE Lighting), Howard

he explains. Group relamping typically occurs on three- or four-year cycles, Lewis (IES), Terry McGowan

assuming a facility uses fluorescent lamps for 3,000-4,000 hours each year. (International Dark-sky Associat-

Incandescent lighting used to that extent would have to be replaced as many as ion), Cary S. Mendelsohn (inter-

nine to 12 times over the same period. National Association of Lighting

Management Companies), Steven
Myers (Philips Lighting Company),

R&D May Tom Naber (National Association of

Electrical Distributors), Ron Runkles
Improve OLED
Photo: Siemens

(National Electrical Manufacturers

Association), Kristine Winner
OLED test
product. Mass Production (National Council on Qualifications
Hoping to achieve more cost-effective organic light-emitting diode (OLED) for the Lighting Professions) and
lighting, the CombOLED project was conceived to combine new device structures, James M. Yorgey, P.E., L.C. (Lutron
better manufacturing and less complex materials. OSRAM Opto Semiconductors Electronics Company, Inc.).
is spearheading the effort.
OLEDs have an anticipated lifespan of more than 10,000 hours and offer the pos-
sibility of high luminance (1,000 cd per sq m) with an efficiency of 40 to 60 lumens
per watt. Before OLEDs can become widely used in mass markets such as general
lighting applications, however, the industry must first improve production.
The CombOLED project is part of a broad initiative by the European Union Joining
in the Seventh Framework Program (FP7). The project has a total budget of 7
million Euros and it is partially funded by the European Committee under the Forces
Information and Communication Technologies call-scheme (ICT) of the Seventh Mergers & Acquisitions
Research Framework Programme (FP7). The CombOLED started on January 1, Lighting Science Group has
2008 and will run for 36 months. acquired Lamina Lighting, Inc.

22 www.ies.org
UPDATES
The Politics of
Technology
Senator John McCain and Governor
Arnold Schwarzenegger toured Finelite’s
manufacturing facility during a roundtable
about innovation and global competitive-
ness held there in June with Silicon Valley
CEOs.
24
LED Wins
International
Design Award
Cree, Inc., announced that its flagship
LED recessed downlight, the LR6, won
a Silver International Design Excellence
Award (IDEA) in the EcoDesign cate-
gory. Selected from 1,517 entries, the
Cree’s LR6 light
juried awards are co-sponsored by the
Industrial Designers Society of America and BusinessWeek. The LR6 is an all-
in-one LED luminaire that converts 6-in. recessed cans into energy-efficient
lighting. The LR6 consumes 12 watts of energy, which is 85 percent less than a
traditional incandescent and 50 percent less than a compact fluorescent.
www.ies.org
 energy
BY WILLARD L. WARREN A D V I S o R
T
he cost of gasoline is
now over $4 a gallon and
it’s getting everyone’s
attention. Tom Friedman,
author of The World is Flat, has long
recommended that we add a $4 tax
on gas, just like the Europeans do,
with the surcharge used to develop
new sources of energy. Europeans
cope with $8-$10 per gallon of gas
by driving smaller, more efficient
cars, many with diesel engines, and
they drive far less miles than we do.
We must increase awareness
of the need to conserve electrical
energy, because electric costs are
also escalating. The U.S. Energy
Information Administration earlier
predicted an increase in the cost of
electricity for 2008 of 3.7 percent.
The cost has already climbed to over
5 percent and next year it is predict-
ed to rise another 10 percent, which
is probably too conservative. Those
increases can only be offset with
energy efficiency and controls.
There’s a parallel between the auto
efficiency café standards, in miles
per gallon, and lighting power densi-
ty (LPD), in watts per sq ft. Both met-
rics are “rates of using energy” not
energy consumption. If the family
SUV is only driven to the commuter
train station or to soccer games, the
miles aren’t accumulating very much.
Similarly, if you limit the time of your
lighting use and reduce use when not
needed with controls, you can cut the
kilowatt hours of usage.
We should also revisit illumi-
nance recommendations and the
quality of our lighting to cut light-
26
ing levels and load where we can,
without sacrificing visual perfor-
mance. Visual performance can be
improved with an increase in the
contrast of the visual task with its
background, and by increasing the
size of the task. This is becoming
more difficult to do with printed
matter because magazines are
switching to smaller size type to
reduce printing cost, and newsprint
There’s a parallel between the auto
efficiency café standards, in miles per
gallon, and lighting power density (LPD),
in watts per sq ft. Both metrics are ‘rates
of using energy’ not energy consumption
gets grayer with the use of recycled
paper, reducing contrast.
DAY FOR NIGHT
Visual performance also improves
as we reduce direct and reflected
(veiling) glare. Direct glare increases
the higher the source brightness
and the larger its size. Direct glare
decreases the farther off the line of
sight the source is (position index)
and with the amount of ambient
lighting in the space (adaptation
level). But we don’t know how to
add the cumulative effect of multiple
bright sources nor do we know the
relative weight to give each of those
four components of direct glare,
especially since our gaze shifts all
the time.
Prof. Mark Rea of the Lighting
Research Center coined the phrase
“volumetric brightness” which is
highly desirable in increasing adap-
tation level. A good example of the
value of volumetric brightness is
the difference between driving by
day vs. driving at night. At night,
some luminaires can be glaring,
while some incoming headlights
can be temporarily blinding. When
those same glare sources are left
on during the day, they’re hardly
noticed. The only difference is the
adaptation level, which is like “night
and day.” Though we’ve searched
for a metric for direct glare, every
formula we’ve derived proves that
humans can’t drive at night (nor,
according to scientists, can bees
fly). But this does indicate another
benefit of daylight in reducing glare
in interior spaces by raising the
adaptation level.
THE WAVE OF THE FUTURE
Indirect glare, or “veiling reflec-
tion,” was a killer when TV and com-
puter screens used convex CRTs.
To reduce reflected glare from CRT
monitors, we employed deep cell
www.ies.org
 ENERGY ADVISOR
parabolics. But louvers, by their very
nature, block light rays, and reduce
luminaire efficiency. Curved pris-
matic lenses and indirect lighting
illuminate walls and ceilings more
efficiently than parabolics, and pro-
vide higher adaptation levels. And
CRTs have been replaced by flat,
non-reflective screens, eliminating
veiling reflectance altogether. So,
while print has gotten harder to
read, TV and computer screens are
getting brighter, have better con-
trast and truer color. The May 2008
Consumer Reports, called the first
new OLED (Organic LED) monitor
screens the “wave of the future,”
providing extraordinary visual clar-
ity and color.
INDUSTRIAL LIGHTING
To increase awareness of the
importance of energy conservation,
I suggest we require a sign in the
lobby of every building indicating
how many kilowatt hours and tons
of CO2 have been saved to date
each year, just like the signs out-
side many factories indicating how
many days have gone by without
an accident.
Regarding industrial accidents, a
group of Canadian engineers, in
an article on safety in the indus-
trial workplace in the July 2008 IEEE
Industry Applications magazine,
reported that “the percentage of
accidents in the industrial working
environment declines significantly
with increased lighting levels,” and
that a disproportionate number
(50 percent) of accidents occur on
the night shift when there’s only a
small fraction of workers on hand,
compared to the day shift (when
28
there’s daylight).
In industrial plants, the repair
of equipment is intensive work,
requiring multi-disciplined labor,
often for extended periods of time,
yet 96 percent of the respondents
to the survey indicated that their
plant lighting was inadequate. In
processing plants the focus is on
production, so when one or more
lights go out, a large section of
the floor area may be left in dark-
ness, and maintenance electricians
prefer to work “hot,” with live, 347
volt wires, rather than shut off an
entire circuit. Many heavy indus-
trial luminaires are located over the
equipment, with poor access, in
spaces with high temperatures and
humidity access, and consequently,
most plant injuries occur to main-
tenance people. The authors of the
paper attribute inadequate light-
ing as a causal factor of the high
level of accidents. But there are no
statistics to confirm their conclu-
sions because of underreporting
and poor record keeping.
So, while we’re saving energy,
the planet and the polar bears, let’s
save some plant maintenance elec-
tricians by providing them with
adequate lighting, both task and
ambient.
Willard L. Warren, PE,
Fellow IES, is the princi-
pal of Willard L. Warren
Associates, a consulting firm serv-
ing industry, government and utility
clients in lighting and energy con-
servation.
www.ies.org
EDUCATION
News From the Front
BY FRED OBERKIRCHER
Historically, the front lines of any
“campaign” have been an area
where information, although very
important, has been sketchy and
inconsistent. How is the campaign
going? Are we doing well, or are we
losing ground? The “fog of war” also
hangs over the front lines of lighting
education, as information about the
campaign to provide high-quality
academic lighting education seems
somehow to get lost in the explo-
sion of lighting information (notice,
I didn’t say “knowledge”) provided
on a daily basis. So your fearless
correspondent has journeyed to the
front lines to personally report on
the campaign for academic lighting
education. The results of this foray
are reported below and constitute a
mixed assessment concerning our
successes.
ONE MAN’S REPORT CARD
At LIGHTFAIR 2007, Bob Davis
spoke at the National Council on
Qualifications for the Lighting
Professions (NCQLP) luncheon, pro-
viding a report card on the current
state of lighting education within
architectural engineering. At the time
of that talk, Bob was a lighting educa-
tor at the University of Colorado. He
then spent several months investi-
gating job opportunities both inside
and outside of academia. You might
say that Bob was testing his free
agency. Eventually, Bob accepted a
position at Litecontrol. At LIGHTFAIR
2008, Bob updated his talk and
30
report card at the Nuckolls Fund for
Lighting Education luncheon, based
upon a year’s worth of reflection.
His experience as an internationally
known lighting educator provides
insights worth sharing.
Thirty years ago, lighting educa-
tion within architectural engineer-
ing centered on the preparation of
undergraduate students to become
engineers in the industry. Faculty
Thirty years ago, lighting education
within architectural engineering
centered on the preparation of
undergraduate students to become
engineers in the industry
were well known and well connected
within industry. Many had masters
degrees and a few held the title of
PhD. The clear emphasis was on pro-
viding education that would prepare
students to take on working roles
within the industry. Research, while
important, was not the central focus.
As a significant part of the student’s
education, interaction with the pro-
fessional societies was encouraged.
Fast forward to today and the
situation has changed significantly.
A PhD is now the required aca-
demic credential for faculty, and the
goal of architectural engineering
programs is to produce students for
their graduate programs. Research
and research funding have become
the central focus of the programs;
anything that takes time and ener-
gy from that effort is discouraged.
Finally, and most importantly, the
number of students available in any
one year to take on jobs in indus-
try is reduced, as students remain
in programs seeking advanced
education. It is not clear that this
advanced level of lighting educa-
tion is particularly useful for the
jobs required by industry.
While Bob’s report card specifically
addressed his experiences within the
architectural engineering discipline,
it is certainly worth noting that a par-
allel phenomenon has also occurred
in the field of interior design. Thirty
years ago, the emphasis on the
recruitment of interior design educa-
tors was on industry experience, as
it was believed that this knowledge
would be most useful for students
about to move into the profession.
In today’s programs, while gradu-
ate programs and research funding
are not nearly as prevalent as in
architectural engineering, the PhD
has, in fact, become the dominant
degree and the emphasis for faculty
is on research versus industry rela-
tionships. Also parallel is the active
discouragement of activities that are
not directly related to professional
development through research, such
as professional society activities.
www.ies.org
EDUCATION
THE MARYLAND ALTERNATIVE
If this were the only news from the
front, the future of lighting education
might indeed look bleak. Happily,
there is additional news. Each year,
the Nuckolls Fund for Lighting
32
Education accepts proposals for the
enhancement of lighting education.
The Nuckolls Fund is named after the
late lighting educator Jim Nuckolls,
and grants are awarded for the cre-
ation of new lighting courses or the
expansion of existing lighting pro-
grams (see www.nuckollsfund.org
for additional information).
In 2004, The Maryland Institute
College of Art faculty member Glen
Schrum was awarded a $20,000
grant to develop a new introductory
course in lighting called “Lighting
Concepts and Applications.” The
course has been taught annually for
the past four years in the fall semes-
ter for junior candidates majoring in
Environmental Design. The results
have been outstanding. Not only
have students benefited from the
addition of lighting education, but
the Institute has seen a raised level
of lighting awareness. Additionally,
students have participated and ben-
efited from interactions with lighting
professionals from both the IES and
the IALD.
Looking beyond the success of the
grant itself, several aspects of the
Maryland Institute College of Art are
worthy of comment. The Institute is
neither a major research institution
nor is it a major graduate institution.
Its primary role is to prepare students
for the artistic profession of their
choice. Thus, faculty is encouraged
to assist in that preparation and does
not feel the same mandate as larg-
er research institutions to develop
research agendas. The result is that
lighting education at the Maryland
Institute College of Art is flourishing.
THE BALL STATE ALTERNATIVE
The good news has not been lim-
ited to art institutes and environ-
mental design, however. In 2006,
the Nuckolls Fund granted Bob
Fisher and Ball State University
$20,000 “to develop and offer a new
www.ies.org
EDUCATION
required course in their professional
architectural graduate program.”
The studio course was entitled
“‘Daylectric’ Lighting: A Course in
Lighting Design for Architectural
Students Emphasizing Innovative
34
Approaches to Combining Electric
Light and Daylight in the Illumination
of Building Interiors.” During the
past two years, the long title of the
course notwithstanding, the results
have been outstanding. A charette
approach utilizing three highly inten-
sive, short duration design projects
that included nationally known
daylighting experts such as Joel
Loveland and Jim Benya was incor-
porated into the lighting semester.
The result is an educational package
that should become a model for the
integrated teaching of daylighting
within other design programs.
MORE NEWS IS GOOD NEWS
As in any campaign, accurate
news concerning the current state
of activities is critical to success.
The campaign for lighting educa-
tion is certainly no exception. As the
troops in the field have the most to
either gain or loose, it would seem
their commanders would have the
greatest incentive to communicate
success or failure. However, as Bob
Davis has noted, with the increased
demands placed upon faculty to pro-
duce research, there is little incen-
tive for faculty to produce articles
discussing their efforts to increase
the quality of lighting education. So
it would seem to fall to the funding
agencies to provide the appropri-
ate communications.....and possibly
magazines, such as LD+A to provide
the space to accommodate that.
Fred Oberkircher, Fellow IES,
IALD, LC, is an associate pro-
fessor and director of the TCU
Center for Lighting Education. He has a
bachelor of architecture and a master of
science in architecture from Penn State
University. Prof. Oberkircher recently fin-
ished two terms as vice president for edu-
cational activities of the IES, and serves
on the Board of the IALD Education Trust,
as well as the Board of the Nuckolls Fund
for Lighting Education.
www.ies.org
IIDA MERIT BADGES
B r i t i s h A i r w ay s F i r s t- C l a s s L o u n g e made sense,” says Panassow.
Inside the lounge—hidden from
Traveling Light view—pinhole MR16 downlights

F
or weary travelers, the British Airways First-Class Lounge at provide 10-30 footcandles of general
Philadelphia International Airport is a home away from home of sorts— illumination. Decorative pendants at
and an office away from office, for that matter. With luxurious velvet focal areas create texture, scale and
furnishings and a champagne bar, the lounge offers both an upscale place to intimacy. In the Signature Lounge,
relax and a space to conduct last-minute business. a crystal chandelier is lighted by a
When Pomme Suchato and Julie Panassow (The Lighting Practice, row of linear fluorescent concealed
Philadelphia, PA) were tasked with designing the lighting for the lounge, the among crystal beads. Preset dim-
goal was to create an elegant and sophisticated space that would provide a ming controls provide multiple
warm welcome to travelers. This meant calm lighting that would provide the looks and extend halogen lamp life.
necessary footcandles, while not being jarring. “Our task was to keep the light- “Working with custom manufactur-
ing soft, but add some accents for some interest,” says Panassow. ers to come up with these large,
The entry door to the lounge is highlighted with the blue British Airways sparkling elements hanging over
brand color light, to distinguish and dramatize it from adjacent window walls. the bar was one of the main chal-
“We wanted to have lighting with a punch at the entrance so it would be visible lenges,” says Panassow.
from the main concourse and be an attractive element inside the lounge as In addition, the client required a
well,” explains Panassow. The effect succeeded; the cool blue is eye-catching limited palette of lamps to simplify
from the concourse and soothing inside the lounge. Concealed T5 fluorescent maintenance. One 35-W MR16 lamp
covelights backlight the patterned glass walls adjacent to the entryway, creat- was used throughout to create crisp,
ing a semi-transparent separation for users to relax inside while still being able warm accents. Accessory lenses
to observe activities in the concourse. were used to vary beam patterns.
At the reception desk, translucent panels backlit by T5 fluorescent and neon Warm LEDs were used for hard-to-
edge-lighting of the blue logo wall framing the desk provide visual destination for reach areas such as banquette coves
customers. In front, a suspended aluminum ceiling suggests an airplane wing. and luggage shelves, while 3,000K
Low-wattage small aperture MR16 downlights provide general illumination with T5 and compact fluorescent lamps
minimalist appearance. Above the “wing,” a stretched fabric “cloud” ceiling is were used for coves and decorative
backlit with color-changing LEDs, programmed to gradually change colors, simu- luminaires. To boot, general light-
lating time of day. Here again, it was important for designers to add visual interest ing is 1.4 watts per sq ft, meeting
since this area is a main entrance. “We used the dollars where we thought they ASHRAE/IESNA 90.1-2004.
2008 AWARDS OF MERIT

1. A suspended aluminum ceiling

suggests an airplane wing. Above
it, a stretched fabric “cloud” ceiling
is backlit with color-changing LEDs,
programmed to gradually change
colors to simulate time of day.
Photos: Halkin Photography LLC

2. In the Signature Lounge, a

crystal chandelier is lighted
by a row of linear fluorescent
concealed among crystal beads.

1. 2.

36 www.ies.org
 Multi-Faith Centre at University of
Toronto
For All Faiths, Light
Unites
T
he Multi-Faith Centre at
the University of Toronto
is an unusual project for
a university campus—so unusual,
that it took more than a decade
to come to fruition. The univer-
sity, which prides itself on having
a diverse, multicultural student
body, wanted to build a center of
worship that was faith-neutral for
students of all religious affiliations
to use. After the center was built,
renovations to the second floor
required a new lighting scheme.
Enter Stephen Ho (Rybka, Smith,
and Ginsler - MMC, Toronto) and
Carol Phillips (Moriyama & Teshima
Architects, Toronto). The two design-
ers were tasked with creating lighting
for renovated areas of the center,
including the newly created main
prayer hall, along with a meditation
room, washing rooms, hallways,
gathering spaces and administrative
spaces. They started by interviewing
several different faith groups to try
to find something that would appeal
Photos: Tom Arban
1.
LD+A September 2008
universally. The answer was light.
“We found that a single source of
light—whether it be a candle or com-
plex window or just a metaphor—
appealed across all faiths as spiritu-
ally evocative,” explains Phillips. The
essential design objective, therefore,
was not to create lighting, per se, but
to create a space of light—a lumi-
nous space that would glow with
serenity and convey a sense of calm
and quiet contemplation.
To achieve this effect, Ho and
Phillips used increasingly diffuse
light throughout. When visitors first
walk onto the main floor, typical
spotlights provide illumination, but
as they move closer to the prayer
hall, the light source becomes more
diffuse and direct, eventually envel-
oping the entire room. This diffuse
illumination comes as a primary light
source through a backlit white Onyx
stone ceiling and wall, with mul-
tiple light levels, while minimizing
shadows and eliminating glare. “We
essentially created a room that is a
massive light fixture,” says Phillips.
As a natural material, the onyx
augmented the fluorescent lighting
behind it, giving it a natural glow.
2.
Designers also faced the challenge
of coming up with a custom framing
system for the ton of stone that would
be hanging from the ceiling. A stain-
less steel suspension system was
designed, into which the fluorescent
lights were integrated. Lamp and
ballast maintenance was achieved
with these custom-designed retract-
able luminaire “cassettes” mounted
within the ceiling grid.
Multi-level functional lighting
includes 4,100K CRI 85 T5HO elec-
tronic separately switched fluores-
cent double 54-W lamp and double-
ballast slim luminaires strategically
mounted within the grid. Separately
switched (off) perimeter slot single
lamp 32-W T8 luminaires lower light
levels for activities such as prayer,
and multiple switching varies light-
ing levels from 10-65 footcandles
to suit religious ceremonial require-
ments and create various lighting
effects and contrasts.
In addition, separately switched
perimeter slotted luminaires create
spatial openness and highlight the
space’s wood paneling.
Rebecca Falzano
1. The floating luminous celestial natu-
ral ceiling was achieved with carefully
placed luminaires within the mosaic
and immobile stone ceiling grid and
operable doors. Lamp and ballast main-
tenance can be done via retractable
luminaire “cassettes” mounted within
the ceiling grid.
2. The Onyx was panelized using sacred
numerology and geometries to create
a mosaic that references religious
structures of all faiths, while avoiding
symbolism and specific religious icons.
37
PROJECT PROJECT

Papier-mâché and butterfly wings

(would you believe it?) influenced
lighting decisions at the Ramsey
County Library in Minnesota

SITE
AND SENSIBILITY
BY PAUL TARRICONE

D
on’t be fooled by the indoor mall and fast-food
restaurants across the street, or the strip mall
next door: The new Ramsey County Library-Ma-
plewood is about as green as it gets. The 31,000-sq ft li-
brary is discreetly nestled into a suburban site of mature
trees, adjacent parkland and a new sculpture garden.
Even when some trees had to be removed during con-
struction, 20 red maples and a variety of native shrubs
and grass were planted in front of the library to replace
the lost trees and shade the facility from direct sun.
The sustainability narrative continues inside the
building. The wood and mineral-board acoustical ceil-
ing tiles, as well as the carpets, contain substantial
amounts of post-consumer recycled material and are
100 percent recyclable. Existing shelving and worksta-
tions from the old library were refurbished and reused
in the new library. Low-VOC paints and glues were

Photos: Albert Vecerka/Esto

used on surfaces.
The one-story building, located in the Minneapolis/
LEDs illuminate the handrail on the back deck that
faces a wooded park. For the interior, indirect lighting St. Paul suburb of Maplewood, replaces the previous li-
supplements natural light. brary completed in 1993 that, 10 years later, needed 60

38 www.ies.org LD+A September 2008 39

PROJECT
“Floating” wood panels were installed beneath the underside of
the roof. Beneath them are T5HO fixtures that bounce light off the
panels and down to the stacks. Along the main corridor, circular
luminaires with fluorescent U-tube, T8 lamps add a consistent
design element. (Inset) Papier-mâché maple seeds are a hanging
artistic element. CFLs were used to light the maple seeds from
within after LEDs were deemed too hot.
percent more space to adequately house its collections
and services. “The county at first wanted to remodel and
expand the existing library, but then decided to build
new. The site is right outside of a park, so they wanted
something low key,” says Patricia Hunt, senior associate/
lighting designer with HGA Architects and Engineers,
Minneapolis. HGA was responsible for all architecture
and interior design, including lighting for the library.
The fast-track, design-build project was completed in 15
months at a design cost of $6.8 million.
The building’s mission, quite simply, was to fit in
with its woodsy surroundings, or as Hunt describes it,
“integrate with the site.” From a lighting standpoint,
that meant an aggressively energy-efficient design
40
that’s easy to maintain. Says Hunt, “It’s a great, simple,
small project with a simple solution.” The result: light-
ing that beats the Minnesota state energy code by an
impressive 40 percent and exceeds ASHRAE/IESNA
90.1-2004 by 20 percent.
Ramsey County selected a linear site for the new
library. To integrate the building within the site and
keep its size and massing within the scale of the natural
setting, HGA designed two horizontal rectangles as the
front and rear forms of the building. The team took in-
spiration for the exterior from the color and patterning
of the landscape, itself, and from the visual rhythm of
books lined up on a shelf. For example, the front of the
library is clad in inexpensive punched-aluminum pan-
www.ies.org
Photo: HGA Architects and Engineers
els (under-laid with a waterproof membrane), which
were detailed to resemble the spines of books.
Along the exterior of the library, cutoff fixtures were
used to prevent glare in the surrounding commercial
neighborhoods. The only uplights were low-wattage
metal halide to illuminate the flag and in-grade ceram-
ic metal halide to light the outdoor signage. A deck at
the back of the library, facing the wooded park, serves
as an egress path and its handrail is illuminated by
white LEDs.
BUTTERFLY BOUNCE
The first rectangle’s roof is flat to correspond with
the flat-roofed commercial buildings nearby. The sec-
LD+A September 2008
PROJECT
ond rectangle, which houses the library collections,
features a “butterfly roof,” which dictated the lighting
design approach, says Hunt. The sloping roof measures
16 ft high at one end, 13 ft in the middle and 26 ft at
the other end, curving in a butterfly form to hug the
park. Because of the different floor-to-ceiling heights,
“we determined that the best lighting for the library
stacks was indirect,” says Hunt. To accomplish this,
the design team essentially needed to create a layer
between the underside of the roof and the stacks. That
layer turned out to be “floating” wood panels—slender
strips of a light-colored, recycled-wood-composite ma-
terial that mediate acoustics and soften the industrial
aesthetic. Luminaires (T5HO fixtures) hang 2 to 3 ft
below these panels and bounce light off the panels and
down on to the stacks. The lights are hung from wires
that run through the panels up to the underside of the
roof. Where the underside of the roof reaches 26 ft high,
track lights were installed.
Along the main corridor, where the circulation desk
is located, the floor-to-ceiling height is 12.5 ft. Here,
circular luminaires with fluorescent U-tube, T8 lamps
were used to add a consistent design element.
Another—more unusual—design element influenced
the lighting concept. This time, it wasn’t composite-wood
panels or the slope of the roof. It was that time-honored,
arts-and-crafts favorite: papier-mâché. “We came up
with a design that would have some type of hanging en-
tity that would draw kids in,” notes Hunt. Minneapolis
artist Sandy Spieler was commissioned to create an art
installation for the children’s area of the library. As a nod
to the city of Maplewood, she came up with the idea of
giant papier-mâché maple seeds embedded with letters
and lighted from within. The light source inside the ma-
ple seeds could not emit too much heat, for fear of drying
out the papier-mâché and creating a fire hazard, so LEDs
were ruled out. Instead, self-ballasted CFLs that tie into
the perimeter track were selected.
GLASS HOUSE
The library also includes an ample amount of glass,
ranging from floor-to-ceiling windows to narrow slices
of glass that offer views of the trees, wetland and sculp-
ture park. In addition, a large clerestory window, framed
by zinc shingles, slopes up from the roof. “The project
41
PROJECT
is meant to be sustainable, so it has lots of glass, but I
wouldn’t say it’s a daylighting project. The most sustain-
able buildings are those that are truly integrated. Using
daylight when it is available instead of electric light is
part of the integration,” says Hunt. With that, daylight
sensors do allow the T5HO lights above the stacks, track
lighting along the perimeter and the CFLs within the
hanging papier-mâché maple seeds to be turned off
when enough natural light enters the building.
The aesthetics coupled with the library’s collection
(142,000-plus materials) have made the building a home
away from home for the local citizenry. “On Sundays,
there’s not an open computer or chair throughout the li-
brary,” says Jane Dedering, HGA’s senior interior design-
er for the project. “Within the Ramsey County Library
System, everybody wants another Maplewood because of
the library’s welcoming design, how well it fits into its
natural setting and how comfortable it is. It’s become the
living room for the community because of its easy access
to reading materials, fireplace and artwork, comfy chairs
and views to the trees and wetlands outside.”
All that’s missing is a hot cup of cocoa, and pancakes
with maple syrup, of course.
42
Views of trees and wetlands belie the
fact that the library sits next door to
a strip mall. Daylight sensors allow
the T5HO lights to be turned off when
enough natural light enters the building.
M ETR ICS THAT MATTE R
Ramsey County Library - Maplewood
Watts per sq ft: 1.12 total building; .98 for the public
stacks/reading/children’s area (exceeds the
Minnesota energy code by 40 percent and ASHRAE/
IESNA 90.1-2004 by 20 percent)
Illuminance Levels: in the stacks, vertical at 3 ft
AFF= 15-20 fc; reading areas = 30 fc; uniformity
in the stacks = 7.5:1
Lamp Types: 13 (including lamps for exterior lights)
Luminaire Types: 39 (10 are exterior types)
About the Designer: Patricia Hunt, LC, Member IES (1981), is a
lighting designer and senior associate with Hammel, Green and
Abrahamson. She is chairperson of IES’s Sports & Recreational
Areas Committee and a recipient, in 2003, of the IES Distinguished
Service Award, which honors those who have furthered the mission
of the Society in non-technical areas.
www.ies.org
PROJECT PROJECT

Plenty of glass and passageways throughout the

office symbolize Oaktree Capital Management’s
transparent corporate culture, but fixtures hidden in
the ceiling hold the key to the lighting design

OPEN YET
C O N C E A L E D
I
n the high-risk, high-reward
world of investment banking,
the slightest hint of impropriety
can lead to the downfall of a firm.
Successful firms operate in an
open and transparent manner, and
that philosophy translated to the
renovation of Oaktree Capital Man-
agement’s full-floor office space in
midtown Manhattan. Epstein-ISI,
the design architect, knew the
space should reflect Oaktree’s cor-
porate culture and respond to the
Photos: David Sundberg/Esto
ture, especially the ceilings, were
viewed as one and the same. Gary
Bouthillette’s dual role as lighting
designer and project designer meant
that he not only had input into the de-
sign of the ceilings, but helped devel-
op the details of many of the major
architectural design elements.
The ceilings were designed to
make the most of limited verti-
cal clearance; outside the elevator
lobby, the highest ceilings in the
23,500-sq ft space are only 8 ft, 8 in.

client’s aesthetic for a crisp, mod- above the finished floor. The ceiling
Cove lighting was achieved with concealed fluorescent
ern, high-end work setting. planes are layered—fabricated from
striplights where greater luminance was called for, such as
at ceiling plane changes in the elevator lobby. From the start, the design of the several different materials includ-
(Opposite) To further emphasize the differences between lighting and the interior architec- ing wood veneer and metal—and
ceiling planes, cove lighting was used in strategic locations.

44 www.ies.org LD+A September 2008 45

PROJECT
Wherever possible, fixtures were concealed,
either completely hidden in coves or hidden
from view by architectural features such as the
beam-like ceiling elements in the conference
rooms and common areas.
46
typically get higher towards the
exterior windows to maximize day-
light. To further emphasize the dif-
ferences between planes, cove light-
ing was used in strategic locations.
Ceilings coordinate precisely with
the rest of the interior architecture,
and the lighting systems needed to
be equally well-integrated into the
overall design. Wherever possible,
the fixtures were concealed—either
completely hidden in coves or hid-
den from view by architectural fea-
tures such as the beam-like ceiling
elements in the conference rooms
and common areas.
Cove lighting was achieved with
concealed fluorescent striplights
where greater luminance was called
for, such as at ceiling plane changes
in the elevator lobby. Where simple
architectural highlighting was de-
sired without the need for high light
levels, like at the tops of wood ve-
neer panels, linear LED arrays were
used for their small profiles which
fit easily into the tight confines of
the millwork details.
CLUTTER-FREE CEILING
One thing the average visitor or
office occupant may not notice right
away is the total lack of clutter in the
ceiling from the mechanical system
grilles and diffusers so commonly
regarded as a necessary evil in cor-
porate office spaces. Instead, HVAC
grilles were side-discharge or placed
in their own dedicated ceiling band
to keep the ceiling design clean and
minimize conflicts with the very or-
dered light fixture layout. The zone
in the ceiling was developed to con-
tain all the supply and return air re-
quirements for the loop corridor and
www.ies.org LD+A September 2008
open office areas. The zone consists
of a continuous recessed band of cus-
tom perforated stainless steel panels
concealing all the air-handling func-
tions for the open areas.
The clean ceiling planes also al-
lowed the luminaires to be placed
not just for the best light distribution,
but also where they could best har-
monize with the other architectural
features, forming one unified design
vocabulary. Where fixtures couldn’t
be hidden, Bouthillette selected
them based on their ability to best in-
tegrate with the ceiling materials. In
the wood ceiling planes, adjustable
halogen downlights (RSA) were used
for their small apertures and flush
square stainless steel trim mirroring
One thing the average visitor or office
occupant may not notice right away is the
total lack of clutter in the ceiling from the
mechanical system grilles and diffusers so
commonly regarded as a necessary evil in
corporate office spaces
the stainless steel used throughout
the surrounding architecture (e.g.,
in hardware, wall panels, counter-
tops and as mullions between the
full height glass panels).
The team decided early on that
all the recessed fixtures should be
square or rectangular, to further
reinforce the principles of align-
ment, integration and unity of de-
sign. “Round lights don’t always
need to line up exactly, but squares
imply a stronger sense of alignment
and proportion,” says Bouthillette.
Design director Mark Bryant
(who had designed Oaktree’s Lon-
PROJECT
don office) selected a wide range of
materials for the project, including
glass with a delicate etched stripe
pattern for the perimeter, stain-
less steel for kitchen countertops,
marble, white Corian on file walls
and quarter-sawn oak wood veneer
for other millwork. Each required a
unique lighting approach to best suit
the various colors and textures.
For example, full-height custom-
etched glass runs around the entire
perimeter and allows daylight to pen-
etrate through the perimeter offices
and conference rooms to the interior.
It required a slightly diffuse artifi-
cial light source to best bring out its
misty, lightly glowing feel. For this,
Epstein-ISI chose 1-ft x 4-ft Zumtobel
fixtures lamped with 28-W T5s for
the offices. Their diffuse light distri-
bution also helped to spread soft light
high on the side walls to avoid the
“cave” effect and sometimes harsh
scalloping and cut-off that can occur
with parabolic and other recessed
lighting. The high color rendering
index of the T5 lamps was an added
benefit. The ceiling panels in the of-
fices allowed precise placement and
alignment of these fixtures, and gave
the ceilings in these spaces a sophis-
ticated, custom feel.
In the coffee bar area, the red
glass tile backdrop required incon-
47
PROJECT
The red glass tile backdrop at the coffee bar
required a light source that wouldn’t harshly
reflect in the glossy surface; recessed MR16s
were placed in an architectural cove formed by the
beam-like ceiling. This allows the glass pendant
above the white marble bar to draw in visitors.
spicuous light sources with a lot of
punch that wouldn’t harshly reflect
in the glossy surface, so recessed
MR16s were placed in an architec-
tural cove formed by the beam-like
ceiling design. This allows the glass
pendant above the white marble bar
(from Nessen) to act as a beacon
drawing visitors to this informal
meeting place, contrasting with the
saturated red backdrop. This sus-
pended fixture is the one notable
exception to an intentional lack of
purely decorative lighting in the
space. The team felt that a wide-
spread use of decorative fixtures
was unnecessary and would detract
from the crispness of the design.
CONTROLLED CORRIDORS
The main loop corridor was lit as
minimally as possible, using square
48
halogen sources, accessorized with
prismatic lenses to spread out the
light where the exact size of the art-
work wasn’t yet determined or might
change in the future, or where glare
from an exposed lamp might pose a
problem. These artwork pieces are
major design elements in their own
right, as evidenced by the large-
scale painting in a corner confer-
ence room.
While an effort was made to limit
high-wattage halogen lamp usage,
the use of efficient T5 lamps for most
of the ambient office lighting saved
some wattage to be used in higher
profile spaces such as the two fea-
ture conference rooms. In these
spaces, narrow beam AR-111s with
anti-glare accessories were placed
between beam-like ceiling ele-
ments, to create a textile-like effect.
“For me, this project offered an
Kurt Versen recessed fluorescent ideal way to work,” says Bouthillette.
downlights, chosen for their con- “The architecture isn’t driving the
trolled reflector brightness, to mini- lighting, and the lighting isn’t driving
mize direct and reflected glare for the the architecture—they’re designed
staff working in adjacent office areas. together, experienced as a whole.”
Oaktree’s artwork collection is
illuminated primarily by recessed
M ETR ICS THAT MATTE R
Oaktree Capital Management
Corporate Office
Watts per sq ft: Approx. 1.2 (plus additional wattage for dedicated artwork
lighting; exceeds ASHRAE/IESNA 90.1-2001)
Illuminance Levels: main circulation =10 fc; private offices = 39 fc at task
zones and 22 fc at nontask zones; open office = 32 fc
Lamp Types: 11
Fixture Types: 20
About the Designer: Gary Bouthillette, LC, Member IES (2004), designs both interiors and light-
ing at the Los Angeles ofice of Epstein-ISI. He earned his Bachelor of Architecture degree from
Virginia Tech in 1995.
www.ies.org
ROUNDTABLE

While many bow at the altar of green

design, the real goal should be ‘quality
lighting,’ not ‘sustainability.’ Five lighting
professionals offer their take

WHAT DOES
BEYOND THE HYPE:

GREEN REALLY MEAN?

50 www.ies.org
 ROUNDTABLE

I
t’s hip to be green...maybe too hip. With every political
pronouncement and product pitch, the green movement
may be inching closer to the edge of cliché and public
skepticism. New York Times’ columnist Maureen Dowd
wonders whether the Democratic Convention’s hiring of
a “director of greening” to measure the greenhouse-gas
emissions of every item associated with the convention
(right down to the balloons) only reinforces the perception
of Barack Obama as “prissy” and “chiding.” In a world of
greenwashing, where every product seems to have an eco-
friendly label, it’s no surprise that 80 percent of those sur-
veyed by Boston College support certification of environ-
mental marketing claims by third-party organizations.
The lighting industry has its own challenges. First, some
argue that “sustainable design” has become a fuzzy catch-
all term that can mean all things to all people. Second, sus-
tainability is often viewed through the prism of watts per
sq ft, lumens per watt or the accrual of LEED points. In
other words, sustainability is often considered a numerical
output—a metric. Unlike age, however, sustainable design
isn’t just a number. In an LD+A essay on LEED’s lighting
requirements, Lee Brandt of Horton Lees Brogden, notes
that “when only dealing with number crunching, qual-
ity design and considerations such as glare, fixture place-
ment...and appropriate sources may go out the window.”
The operative word in the above quote: quality. So we
put the following question to five lighting professionals:
What does the phrase “quality lighting in a green world”
mean to you? Here’s what they had to say.

MARK ROUSH Don’t get me wrong—I do not intend to

Director of Specification Marketing come out as being against reduction
Acuity Brands Lighting of waste, for the consumption of non-
renewable resources, nor against the

I
accepted this charge largely be-
cause the question begins with
the proper emphasis on quality
lighting. That is something I hope
all professionals are holding most
dear as they solve the visual issues
which enable the power of light to
transform space. Doing so with
environmental conscientiousness
is our responsibility to those we
serve. But making sustainability a
key selling point of any design (al-
beit lighting, architectural or oth-
erwise) is shortchanging the value
I place on the finer creative arts.
Enough already with sustainabili-
ty! Ask 10 designers what sustainabil-
ity is and you will get 11 answers. It is
misused, misapplied, overindulged
and underdelivered—and all with
such misplaced devotion. It reeks of
lowest common denominator medi-
ocrity: table stakes in my book—the
minimum commitment required to
enter the game. (Of course, ask 10
lighting professionals what quality
in lighting is and you are in the same
non-agreed-upon, poorly articulated
territory.) We need to get back to pro-
moting the value of lighting excel-
lence while quietly fulfilling the ab-
solute necessity of creating the least
negative environmental impact for
the most feasible benefit of sustain-
ing future generations of all species.
To me, the entire sustainabil-
ity argument is being made by those
who have never seen the forest for the
trees. Designers need to get back to
articulating the value of design and
stop jumping on someone else’s band-
wagon (tree huggers, politicians, ser-
vice providers, lawyers, environmen-
talists, etc.). We are simply managing
our own demise and marginaliza-
tion. Sustainability is not the goal; it
should be an objective within the goal
of improving the human experience.
reduction in toxicity in all things.
Rather, I fear there are too many
design practitioners hanging their
shingle in the name of environmental
friendliness without the ability to ac-
tually design friendly environments.
I did not study architecture,
practice lighting and promote the
lighting industry with the primary
goal of sorting the garbage, reduc-
ing the formaldehyde in my carpet,
using bamboo in everything and cut-
ting energy to eliminate sparkle and
visual excitement. I’m thankful to
the green movement for increasing
awareness and creating demand for
forward-looking technologies that
minimize the negative impact of the
human infestation of our planet. I just
don’t think it is doing anything to ad-
vance one’s striving for excellence in
lighting design. I want a world filled
with better designers...not more en-
vironmentalists.

LD+A September 2008 51

ROUNDTABLE
SUZAN TILLOTSON
President, Tillotson
Design Associates
I
prefer to tell you what the phrase
“quality lighting in a green world”
doesn’t mean to me. It doesn’t
mean choosing a fluorescent or LED
source just for its “greenness” or
because it’s politically correct or be-
cause it’s the bulb of the future. The
truth is that unless color changing is
important to you, LED is not more
efficient or cost effective than other
sources—at least not unless mainte-
nance is difficult. The truth is that
self-ballasted compact fluorescent
lamps do not look good in my home
or in any hotel room I’ve ever stayed
in. The truth is that specifying expen-
sive daylight controls with a dimma-
ble fluorescent lighting system is not
practical when compared to simply
designing a physical sun shading de-
vice as part of the building design, or
KEVIN J. FLYNN
Executive Vice President, Kiku Obata & Company
IES Past-president (2006-2007)
A
re we moving into a time
of green fatigue? Have we
overhyped “green” to the
point that we don’t really under-
stand what is green and what is not?
For example, is a CFL green? Some
would argue, how can you call a
product green when it contains mer-
cury, is made in China in factories
powered by coal-fired plants and is
shipped all the way to the U.S? It is
52
as practical as a simple north-facing
skylight. The truth is that using only
cutoff exterior fixtures is not always
smart especially when the reflected
light they produce off concrete pave-
ment will project more light into the
night sky than a lower wattage semi-
cutoff luminaire. The truth is that it
is not smart to have driveways lined
with solar-powered LED path lights
(just use your headlights or a simple
low-wattage, low-glare porch light).
We all need to take a step back and
reevaluate the meaning of “green.”
Sustainable lighting design is
an oxymoron by definition. Light-
ing requires energy so how can it
be sustainable? By recycling it? Are
any manufacturers working on that?
Why not just use less light or put light
only where you really need it? Should
we continue to fight for providing the
same amount of light, but with less
flattering and more expensive sourc-
es, even though doing so adversely
impacts our quality of life? I say no.
understandable why the consumer is
questioning what they are being told
about green products.
“Quality lighting in a green world”
is not about banning lamps or setting
standards for watts per sq ft or the
many other metrics we see develop-
ing. It is about how we will design
our projects in the future. It is about
changing our processes. We need
to start designing lighting systems
It is up to lighting design profes-
sionals to maintain the quality of light
and our built environments despite
the rise in energy costs. How do we do
that? Simply by making smart choices
and remembering that “less is more”
and encouraging our clients and ev-
eryone we know to do the same.
Is it okay for our politicians to ban
the incandescent bulb but make no
mention of lowering people’s expecta-
tions of light levels, or no mention of
the impact that inefficient room cavi-
ties and finishes have on the efficiency
of lighting systems? With our compla-
cency, we have allowed the lighting
design profession to be regulated by
people who really know very little of
the importance of light to our quality
of life. Next they’ll be telling architects
to only design white rooms with 8-ft
ceilings and no windows since they’re
the most efficient. It’s easy for politi-
cians to ban a lightbulb; it’s not so easy
to teach people how to be less wasteful
and make intelligent choices.
Is a CFL green?
Some would argue,
how can you call a
product green when
it contains mercury,
is made in China in
factories powered
by coal-fired plants
and is shipped all
the way to the U.S?
—Flynn
www.ies.org
 ROUNDTABLE

that incorporate all aspects of light-
ing—daylight, electric light and con-
trol systems and coordinating those
with all other building systems. We
need an integrated design team that
is looking at the built environment in
a holistic way vs. as individual silos.
To accomplish quality and sus-
tainable lighted environments, three
things must occur. First, we need
increased research that will lead to
new technologies and products that
we can manufacture in the U.S. Sec-
ond, members of the lighting com-
munity need to have the desire and
passion to want to change how we
look at our buildings and the impact
they have on our world and future
generations. And third, the light-
ing community needs to convince
the general public about why they
should demand better solutions for
their built environments.
Changing a lightbulb is easy, set-
ting a new standard is easy; chang-
ing how we act and design...chang-
ing people’s minds and habits, that
is the hard work yet to be done.

Lumens per watt, watts per sq ft and crusades for (LEDs) or against
(incandescents) particular technologies shouldn’t merit serious
consideration if they’re not combined with attention to people’s needs
—Bullough

JOHN D. BULLOUGH
Senior Research Scientist, Adjunct Assistant Professor, picture, not the wall); “outdoor

Fellow IES, Lighting Research Center, Rensselaer site-lighting performance” (i.e.,

Polytechnic Institute quantifying the amount of light

contributing to light pollution); and

P
ut simply, lighting consumes
resources, and resources are
limited. Completing the syl-
logism, lighting is inherently unsus-
tainable. This gloomy conclusion can
be tempered by the fact that some re-
sources (like the sun) are less limited
than others (like fossil fuels), although
we must learn better how to harness
the former before we consume our-
selves fighting over the latter.
Returning to lighting, though,
light is the only fundamental quan-
tity that depends upon humans for
its meaning. This is fitting when we
consider that lighting is for people.
How is this relevant to sustainable
design? Lighting without people is
as unsustainable as it gets, but there
are still many lighted but empty cor-
ridors and parking lots in the world.
Aside from such obvious insults
to sustainability, lighting that
doesn’t serve people well cannot be
sustainable. Lumens per watt, watts
per sq ft and crusades for (LEDs) or
against (incandescents) particular
technologies shouldn’t merit se-
rious consideration if they’re not
combined with attention to people’s
needs, preferably in quantitative
terms. Useful metrics should allow
us to assess numerically the posi-
tive and negative effects of lighting.
Some examples of these new met-
rics are “application efficacy” (i.e.,
lighting only the area of interest
with minimum energy use, such as
a parking lot luminaire that lights
only the parking lot, not adjacent
properties, or a track-mounted
picture light that lights only the
“circadian stimulus” (quantifying
light for the circadian system).We
need more of these metrics, espe-
cially regarding when and not only
how much light is desirable.
By name and pedigree, IES is an en-
gineering society. Paraphrasing from
the Accreditation Board for Engineer-
ing and Technology, engineering is
the creative application of science
to an intended function, consider-
ing economics and safety. These last
two elements make sustainability a
hallmark of engineering, and light-
ing must be infused with the spirit of
engineering in order to be sustain-
able. Promulgating useful metrics
and abandoning ineffectual (albeit fa-
miliar) ones seems drastic but is what
good engineers have been doing all
along. Let’s be good engineers.

LD+A September 2008 53

ROUNDTABLE
STEVEN ROSEN
Principal, Available Light
M
an, lighting designers are
in a tough spot. As students,
it was beaten into us to fo-
cus on visibility, composition, bal-
ance, color and movement. We were
trained to consume—sustainability
was not part of the equation. But we
are smarter than we used to be; we
now know (okay, we now acknowl-
edge) that every lumen we produce
tips the carbon dioxide scale against
humanity. So where does that leave
us lighting designers? After all, we
don’t manufacture anything; all we
do on behalf of our clients is con-
sume. But we can consume less.
The terms “going green” and
“sustainable design” have become
ubiquitous. Just like 19th-cen-
tury marketers used the Statue
of Liberty to sell everything from
Revised Recommended Practice
for Senior Living ANSI Approved
ISBN: 978-0-87995-233-5 / List Price: $65.00
IES Member Price: $45.50
54
toothpaste to life insurance, the
greenwashing of America has con-
temporary hucksters selling every-
thing and anything in the name of
saving the planet. Although much
of this activity is fraudulent, or at
least downright distasteful (you
LED manufacturers know who you
are), how else would the notion of
going green find its way into the
hearts and minds of the general
populace? The negative side of this
argument pales in comparison to
the amazing consciousness-build-
ing that has occurred.
When trying to define my oc-
cupation to the uninitiated, I of-
ten use the analogy that light is to
the eyes what music is to the ears:
rhythm, tempo, timbre are layers
are my toolbox. To me, going green
is another tool. It doesn’t mean turn
down the music; it means turn it
off when no one is listening. It
means thoughtfully applying light
P
oor lighting is often associated with
potentially life-threatening falls
among the elderly. Care providers
and designers can reduce the likelihood
of falls by adopting the recommendations
found in the newly revised Lighting and the
Visual Environment for Senior Living RP-28-07.
Optimum lighting conditions enable care
providers and designers to enhance the
safety and well-being of older adults in the
built environment.
Topics discussed in RP-28-07:
• Loss of vision and sensitivity to glare in
older adults
• energy eicient light sources, task light-
ing, controls, and daylighting
• applications to homes, apartments, con-
dominiums, and congregate housing
to tasks and surfaces. It means ce-
ramic metal halide point sources
instead of halogen. It means dim-
mers and motion sensors. It means
attempting to motivate the director
of facilities to fabulously manage
and maintain the systems we have
provided—not to go around chang-
ing out all the lamps with compact
fluorescent ice cream cones.
Our role in life is to consume
energy. We must all employ the ev-
ermore efficient electric light sys-
tems coming to market, harness
all the daylight we can find and be
more thoughtful about how we ap-
ply our design principles. Perhaps
it is this notion that makes us that
much more valuable to our clients.
We must also champion energy
that is produced completely by sus-
tainable means. Only then can our
profession be truly green.
—Paul Tarricone
• photobiological efects of lighting (e.g.,
the circadian system and vitamin D syn-
thesis)
Numerous up-to-date four-color photo-
graphs and drawings supplement the dis-
cussions.
To order:
Call: 212-248-5000, ext 112
Fax: 212-248-5017
Online: www.ies.org
www.ies.org
PROJECT PROJECT

I
t is a classic case of actions speaking louder than words.
As one of the nation’s leading organizations that sup-
ports environmentally responsible building and the
founder of the LEED Green Building Rating System, it was
critical that the U.S. Green Building Council “walk the
walk” when it renovated its not-so-green headquarters in
downtown Washington, D.C. And what better way for the
USGBC to do so than to have a space that achieves the ulti-
mate rating in a system it champions itself. The newly ren-
ovated headquarters is LEED Platinum-certified for Com-
mercial Interiors, with energy use 35 percent below the
LEED-prescribed level of ASHRAE/IESNA 90.1-2004. As
icing on the cake, the renovation project is located within a
building that is Gold-rated LEED for New Construction.
There was nothing particularly green about the existing
USGBC headquarters. It was located on a single floor with-
in a tenanted building and needed to be expanded to fit a
growing number of staff. To make the 22,000-sq ft space the
pre-eminent showcase for the USGBC, interior architects
Perkins + Will made sure that from floor to ceiling, every
aspect of the new space demonstrated the organization’s
commitment to forward thinking and innovation, while
helping to further the Council’s goal of demonstrating that
green building concepts can be adapted to virtually any
building type or space. Between reclaimed materials, low-
flow faucets, Energy Star equipment, low-chemical emis-
sion materials and other green measures, the new space is
an ideal case study for sustainable design.
And then there is the lighting. Designed by Brian Mos-
bacher and Steven Bliss (Bliss Fasman Lighting Design,
New York, NY), the lighting helped seal the deal in terms
of its LEED rating. Of the space’s 45 LEED points, five are
attributable to lighting energy and usage: three points for
optimizing energy performance-lighting power; one point
for optimizing energy performance-lighting controls; and
one point for controllability of systems-lighting.
The goal for Mosbacher and Bliss was to have the high-
est perceived light levels while minimizing the connected
load to meet LEED requirements. The project came in at
a mere 0.65 watts per sq ft. “The lighting concepts were to
create a modern, clean office environment and best meet
the specific needs for each particular space,” says Mos-
bacher. “The major challenge was to provide enough light,
or perceived brightness levels, for a comfortable work en-
vironment,” he says.
The renovation included open and private office areas,
conference rooms, corridors, a lobby and a lunch area. The
open office areas have low-height workstations which al-
low daylight to flow into the entire space, to every employee,
so that there isn’t heavy reliance on electric lighting. En-
closed offices are located around the core while low-height
workstations are located with direct access to operable
perimeter windows. All common spaces are centrally lo-
cated providing opportunity for impromptu collaboration
between departments. Spaces are multi-functional: offices
serve as conference rooms, the library/pantry as meeting
space and conference rooms as workrooms.
OFFICE SPACE
A variety of sources appear throughout the headquar-
ters—fluorescent, ceramic metal halide, fiber optics, LED—
and all have one thing in common: they are long-life lamp
types, which speaks to the spirit of the USGBC. (Incandes-
cent is out of the picture. Not a single one was used through-
out the space.) Lighting products donated by manufacturers
such as OSRAM SYLVANIA and Cooper Lighting Industries
were selected for high efficiency and low energy use. “A ma-
jor challenge for us was to find fixtures of high efficiency
that were able to provide 30 footcandles on the work plane
while consuming minimal wattage,” says Bliss.
One of the challenges designers faced in integrating
lighting with the architecture was the space’s relatively
low ceiling heights—just 9 ft between floors, minus 1 ft for
ceiling space. “The open office area was originally going
to have an open ceiling design to maximize the height of
the space. Later, this changed to a dropped ceiling con-
dition. In the end, we like the result, which was lower
ceiling heights, but higher reflectance, which added a
smooth texture as compared to the existing concrete ceil-
ing,” explains Mosbacher.
Starting in the reception area, fiber-optic fixtures
integrated within a wall slot cove accentuate a natural
timber wall. Recessed linear slot lights and recessed
downlights delineate the clean lines of the architecture.

WALKING THE WALK

When it came time to light the USGBC’s
renovated headquarters, this proponent
of green building design had to practice
what it preaches
BY REBECCA FALZANO
Photos: Prakash Patel

56 www.ies.org LD+A September 2008 57

PROJECT PROJECT

(Left) Open office areas have low-height workstations which allow daylight to flow to every employee. 32-W T8 fluorescent lamps operate on
programmed start ballasts and the linear fluorescents are supplemented with 18-W CFLs in downlighting fixtures. Decorative pendants give
the impression of brightness, while individual LED task lights allow employees to control the amount of light within their work area.
(Right) In the enclosed conference rooms, staggered rough-hewn wood timbers recycled from another project add warmth and allow vistas
through the slots into the open office areas. The wood is accented with downlight wallwashers, while a 6-ft-diameter dome fixture mimics the
effect from a natural diffuse skylight.

The project earned 45 LEED points out of a possible 57; five are attributable to lighting energy and usage.
In the nearby corridors and elevator lobby, staggered slot
fixtures randomly placed in the ceiling add brightness to
the ceiling plane and provide a fun rhythm and flow to
the space. Here, as well as in lobbies and reception areas,
FO40/830/XP lamps (from OSRAM) were installed with
an anticipated lifespan of 30,000 hours.
In the open office areas, large windows allow plenty
of infiltration of natural daylight, which works with the
controls harvesting system. All of the indirect lighting
fixtures in this area are individually controlled to re-
spond to changing daylight conditions within the space.
In areas where daylight does not penetrate, interior walls
are lighted with perimeter fixtures. A daylight harvest-
ing dimming ballast (from Just Right Light) continuously
monitors the available daylight at each fixture location to
supply only the minimum amount of electric light need-
ed for ambient light levels. The rest of the areas utilize a
preset control system (from Lutron).
The open office work and conference spaces are lighted
with 32-W T8 fluorescent lamps, operating on programmed
start ballasts. The linear fluorescents are supplemented
with 18-W pin-base amalgam compact fluorescent lamps
in downlighting fixtures. “Generally speaking, we prefer
T5 fixture designs because of the smaller fixture profile
sizes and their improved efficiency. However, we found
that ballasts for T8 lamps have been further engineered
than T5 ballasts, simply because they have been in devel-
opment for a longer period of time,” explains Bliss. The low
power consumption ballasts for T8 lamps actually con-
sume less energy than T5 lamps, even though the nominal
lamp wattages are less. “In time, we expect the T5 ballast
technologies to improve to come up to speed with T8 tech-
nologies, but for this project we did pursue T8 lamps due to
the lower power draw ballast technologies,” he adds.
Also in the open office area, decorative pendants (from
Shaper, Cooper) provide a visual source to give the im-
pression of brightness and add to the feeling of a lighted
space. Individual LED task lights allow employees to
control the amount of light within their work area while
consuming little power. Indirect/direct lighting (from
Neo-Ray, Cooper) improves the perception of brightness
and provides base illumination levels.
In the private office areas, direct/indirect recessed
lights (from Neo-Ray, Cooper) were chosen. “These fix-
tures light higher on the walls as compared to a parabolic
fixture which would cut off light,” explains Mosbacher.
This effect accentuates the perception of brightness
while providing relatively low light levels. In addition, T8
fluorescent lamps (from OSRAM) were used.
Moving into the enclosed conference rooms, stag-
gered rough-hewn wood timbers recycled from another
project add warmth and allow vistas through the slots
into the open office areas. The wood is accented with
downlight wall washers, while a 6-ft-diameter dome
fixture mimics the effect from a natural diffuse sky-
light. Finally, in the multi-function lunchroom which
also serves as a library, workspace and recycling center,
the lighting strategy included T5 fluorescent lamps.
Mosbacher says the biggest hurdle was creating a design
to meet the connected loads, calculation and light levels—all
while achieving the goals of both the architect and the client.
The result is that now the USGBC has a space that clearly
communicates its mission and proof that the ideals of green
building provide real benefits—not to mention lower energy
costs. That’s quite a way to lead with LEED.
M ETR ICS THAT MATTE R
USGBC Headquarters
Watts per sq ft: 0.65
Illuminance Levels: 30 fc (maintained in
open & private offices)
Lamp Types: 7
Fixture Types: 31
LEED-certified (Platinum)
About the Designers: Steven L. Bliss, IALD, principal of Bliss Fasman, received his B.A. and
M.A. from the William Patterson College and completed his design studies at the University
of Copenhagen in Denmark. He apprenticed for six years as an associate with Donald L. Bliss
and was a senior associate with T. kondos Associates in New York for 18 years. Mr. Bliss’s
lighting design experience includes shopping centers, corporate offices, exhibition halls, mu-
seums, hotels, office towers, libraries and airports in the U.S. and abroad. His retail projects
have been honored at the International Council of Shopping Centers award presentations.
Brian Mosbacher, IALD, associate at Bliss Fasman, has more than 13
years of experience as a lighting designer in New York City. He worked
with the ofices of Fisher Marantz Stone for over eight years and Flack
and kurtz Lighting Design Group for two years. His project experience
includes museums, memorials, corporate headquarters, airports, pri-
vate residences, restaurants and retail centers. Mr. Mosbacher was a recipient of an IES
Lumen Award in 2006. He is a graduate of the Architectural Engineering program at the
Pennsylvania State University with a specialization in Lighting Design.

58 www.ies.org LD+A September 2008 59


OP TIMIZ ING
MUSEUM LIGHTING
An early and honest dialogue
between lighting designers and
museum operators can help
save energy and cut costs
BY MARY CLAIRE FRAZIER
LD+A September 2008
DESIGN TRENDS
M
useums are one of the last bastions of incan-
descent lighting. Projects for regional and
specialized museums often have limited con-
struction budgets, so the first cost of light fixtures is im-
portant. Consequently, the old energy hog PAR38 lamp
in a ring often becomes the value engineering instru-
ment of choice. What can be done to reduce energy used
by display lighting without breaking the project budget
and degrading the visual impact?
Addressing this issue at the initial concept develop-
ment phase can guide the design team toward solutions
that are both cost- and energy-effective. The key to this
is keeping the big picture in mind. Take operational
costs into consideration from the beginning, getting
buy-in from the facility staff. If the stakeholders truly
understand the long-range goals, any VE process can
be influenced to include life-cycle maintenance and op-
erational expenses.
61
DESIGN TRENDS
DIFFERENT DESIGN APPROACHES
Every museum has its own visual style based on its
mission and content. Some are bright and airy, letting
the exhibits provide the accent and visual texture. Art
museums often take this approach. Curatorial restric-
tions on illuminance levels for painting and sculpture
are less severe because the materials are not easily de-
graded by UV and IR exposure. Other museums, par-
ticularly those displaying historic artifacts, are more
likely to take a muted lighting approach to protect those
objects. Establishing just what the visual style ought to
be is part of a process that needs to include the entire
design and museum teams. Setting curatorial rules and
restrictions early will allow the designers to recom-
mend the proper combination of light sources, shield-
ing and controls to accommodate the best interests of
the museum’s displays and satisfy the energy and vi-
sual requirements as well.
62
Bright and Airy. In facilities where the bright and
airy approach is desired, a high proportion of ambient
light is appropriate. These may be large spaces, even with
daylight contribution during the day. The transition from
daylight to evening light can be enhanced with cool-col-
ored fluorescent or metal halide light, both sources that
will provide relatively high light levels at low energy
use. If daylight is present, daylight harvesting can be a
viable energy-saving option, even in galleries. Where
this design approach is used, sufficient contrast between
ambient and accent light must be maintained to allow
the displays to shine. Controls that interface with day-
light availability are vital to both achieving energy sav-
ings and maintaining the optimum visual environment.
Even when there is no daylight in the space, preset-type
controls can be used to simulate time of day for interior
spaces. This not only adds interest to the display but can
save energy and extend lamp life as well.
www.ies.org

Restrictive. Museums with highly restrictive cura-
torial lighting requirements present a different set of
design options. Modulation of light becomes critical to
achieving accents on objects that can only be illumi-
nated to 5 footcandles for extended periods. Ambient
light surrounding these objects must be reduced to less
than the object lighting or the visitor’s eye will not be
drawn to the display. Shielding view of the light source
becomes very important since a too-bright object in the
field of view makes everything else appear darker. Text
panels need to be illuminated sufficiently for reading
by all age groups without overpowering the object be-
ing described. The exhibit design can aid this balanc-
ing of brightness with the use of appropriate color hues
and values, so good communication between the ex-
hibit and lighting designers is advantageous.
One lighting technique that is critical to making this
kind of display work visually is careful control of beam
LD+A September 2008
DESIGN TRENDS
(Left) A succession of spaces
in the Noah’s pArk exhibit at
the Skirball Cultural Center in
Brentwood, CA, represents the
transition from pre-flood to
glorious finale. Each gallery
uses light in different ways to
help tell the story. Light sources
include line and low-voltage
incandescent, compact and linear
fluorescent, metal halide and LED.
(Right) The Future of Flight in
Everett, WA, uses fluorescent
strips for ambient light in the huge
hangar space, while metal halide
ellipsoidal theatrical instruments
provide energy-efficient accent
light from high above the exhibits.
Originally, the architects resisted
the idea of using the fluorescent
strips during open hours until
they saw the way the lines of light
helped organize the vast space.
spreads. Low-voltage light sources with precise optics
and stable color, such as AR111 and PAR36 lamps, are
the lighting designer’s best friend in this approach,
while spill light is the enemy. Careful focusing is an ab-
solute requirement for this technique. Because the light
is so controlled, this is a very energy-effective way to
design exhibit lighting. Low-wattage sources can pro-
vide adequate illuminance over a small area, and what
limited spill light there is contributes to easing the con-
trast to comfortable levels.
LIGHT SOURCES
Incandescent. Incandescent has been the light
source of choice for museums for as long as electric
light has supplied their illumination. It provides the
flexibility of an instant-on source with dimmability.
Line-voltage incandescent lamps have low first cost
which makes them popular with small galleries and
63
DESIGN TRENDS
museums with limited equipment budgets. Energy
costs and frequent lamp changes have historically been
considered just part of running a museum. As energy
and maintenance costs increase, more museums are
looking for more efficient and long-life alternatives.
Low-voltage halogen sources present good options
when combined with the kind of lighting design tech-
niques that make best use of their superior optical con-
trol. The lamps do cost more than line-voltage incandes-
cent lamps, and they require transformers that increase
the fixture or system cost. However, manufacturers
are pushing the rated life of MR16 and AR111 lamps to
greater lengths while improving the optical control that
The “Wall-of-Stuff” at Experience Music Project,
Seattle, is illuminated with PAR36 narrow spots that
are modulated with various spread lenses. This creates
brightness relationships that draw the visitor’s eye
around the display to support the story being told.
allows lower wattage lamps to substitute for the less-
controlled higher wattages. This optical control com-
bined with the ability to dim makes low-voltage lamps
the most flexible option for most museums.
There are other excellent possibilities that have the
potential to transform the way museum staffs think
about lighting. The key is educating them and proving
that the color quality and controllability is sufficient to
provide the visual environment they need while reduc-
ing operational costs to manageable levels.
Fluorescent. Lighting designers know that fluores-
cent lamps have come a long way in the past decade, but
the word has not necessarily found its way to museum
designers and operators. The need to demonstrate the
possibilities anew for each project is an ongoing chal-
lenge, but one that is worth the effort. Fluorescent defi-
64
nitely has a place in museums. While lighting a display
with fluorescent light may not be appropriate, its use as
an ambient light source is efficient and flexible. Good
dimmability allows it to be controlled in concert with
the display lighting. Careful shielding is important for
both UV exposure and visual comfort.
Ceramic Metal Halide. Metal halide is a source that
is becoming a very viable option for museums. With the
introduction of low-wattage ceramic metal halide lamps,
the kind of light levels that are desired in museum dis-
plays can be achieved with significantly lower energy
demand. There is certainly some trade-off in flexibility.
They do not dim adequately for the kind of color quality
necessary for museum displays, so their use is dependent
on careful design that may need to include prior calcula-
Fluorescent definitely has a
place in museums. While lighting
a display with fluorescent light
may not be appropriate, its use
as an ambient light source is
efficient and flexible
tions. However, museums have always used devices like
light blocking screens to vary light levels from track fix-
tures that cannot dim separately. The same kind of de-
vices can be used on metal halide fixtures to great effect.
As a light source for fiber optic systems, ceramic
metal halide is perfect. It provides substantially higher
output than incandescent sources at less than a third of
the wattage and heat. Since fiber shifts the color tem-
perature of the light source depending on the type of
fiber used, there is no color advantage to incandescent
with this medium.
The first cost of metal halide is a potential issue un-
less life cycle cost is considered. The energy savings is
critical to making the economic equation work for this
source. But the color quality and texture of the light are
similar enough to halogen incandescent that it is well
worth considering for accent lights.
LEDs. LEDs, the source everyone wants to make
use of, have their place in many museums. Their use
www.ies.org

for special effects has been prevalent for a number of
years. As the color quality and consistency improve,
they are presenting more possibilities for museums.
Their use for ambient light where low light levels are
desired should also be considered. Their ability to save
energy is based on the same principle as low-voltage
halogen where focused beams can put the light only
where it is needed.
The color consistency issue remains the primary road
block for many display situations. This can potentially
be overcome if the design permits sufficient separation
of accents so the color comparison isn’t obvious. With
dimmable LED sources, the light loss over time can be
balanced by maintenance dimming at the beginning
that is moderated over time to allow even output over
the life of the lamps. The still relatively high first cost
and the emerging nature of the technology present po-
tential challenges for small museums where failures
can turn into major crises.
CONTROLS
Using more energy-efficient light sources and care-
fully targeted display lighting can make a real contri-
bution to lowering energy and maintenance costs in
museums, but controls offer even greater potential.
Conservation can be aided by occupancy controls that
turn off lights when no one is in the space, thus protect-
ing artifacts and saving energy at the same time.
The advantages of the dimming aspect of controls are
substantial. If there were no other advantage, just the
flexibility that dimming provides to museum displays
would make it worth strong consideration. But the ad-
ditional positive aspects dimming provides add value
as well. Dimming incandescent reduces its energy use
while extending lamp life, so maintenance costs are
reduced along with energy costs. Dimming fluorescent
allows it to become a viable light source for museum
galleries where light levels need to be restricted, and
fluorescent is already a huge energy saver over incan-
descent. Dimming LEDs makes them a more viable
source for display lighting than they would be without
dimmability.
Control systems with astronomic time clock inter-
face that can be programmed to match the museum’s
schedule are the single biggest potential energy saver
LD+A September 2008
DESIGN TRENDS
for most facilities. The more time you can shave off the
period that the lights are on, the more you save. Mu-
seums often have a “lamp check” period in the morn-
ing when staff walks around to find lamps that need
to be replaced before opening. Dimmable sources can
be at 25 percent for that time. Lighting in event spaces
can be scheduled to be on only during the event, with
reduced levels for setup and break down. Turning off
lights as soon after closing as possible is a slam-dunk
for savings. Additionally, back-of-house areas can be
controlled with occupancy sensors that interface with
the overall system.
Lee Richardson, director of facilities for Experience
Music Project in Seattle, explained recently that his
team reduced EMP’s energy use by half over two years,
primarily by working with all staff members to trim
the time that lights and AV equipment are on to match
the schedule as closely as possible. Instead of turning
everything off two hours after closing when all staff
was gone, they trimmed that to one hour for everything
and less for non-essential areas.
MAKING IT WORK
Human nature makes us all want to keep doing
things the way we’ve done them before as long as it
works. Museum operators are no different. Providing
people with the information and tools they need to un-
derstand how changes will make their facilities better
and their jobs easier is one of the most important tasks
that a design team needs to accomplish. The status quo
is no longer acceptable for museums straining under
increasing power bills. Lighting designers and engi-
neers need to step up early in the design process and
help decision makers understand the alternatives and
tradeoffs, then continue working with the entire team
to ensure a functioning and maintainable lighting sys-
tem. In order to do this, we need to understand these
systems ourselves and apply that knowledge to the de-
sign and commissioning of museum projects.
About the Author: Mary Claire Frazier, IALD, Member IES (1995),
LEED AP, is a principal lighting designer at Candela Lighting Design
and Consulting based in Seattle, WA. She has more than 25 years
of experience as an independent lighting designer and instructor.
65
TECHNOLOGY
CONTROLS IN
The changing nature of the K-12 classroom
combined with the ‘flex’ space in today’s schools
demands a variety of lighting control strategies
T
he design of America’s K-12 school buildings—
from the iconic one-room school house to the
multi-building campuses we have today—has
followed the evolution of American society itself: ex-
plosive population growth with a diversity of needs,
matched by a multitude of technological tools available
to help meet those needs.
In the process, schools must bear the burden of ever-
increasing energy costs—with lighting accounting for
the greatest source of consumption. According to the
U.S. Energy Information Administration (within the
U.S. Department of Energy), lighting accounts for 55
66
During video presentations, the lights at
the front of this classroom in the Grover
Cleveland Elementary School are
dimmed to reduce glare and improve
screen contrast, while a second group
of lights above the students remain
bright enough to allow students to see
their desks and take notes.
K-12 BY STEVE BEEDE
percent of the typical school facility’s electricity con-
sumption, far above any other source, including heat-
ing, cooling, ventilation or office equipment.
Yet, it is today’s state-of-the-art lighting technology that
can deliver the greatest potential for energy savings in
school buildings. The techniques range from daylight and
occupancy sensors, to manual control and dimming.
ROOM BY ROOM
In addition to classrooms, schools house a variety of
multi-purpose spaces, including the cafeteria or “cafe-
torium,” gymnasium, auditorium and recreation cen-
www.ies.org

ter. Flexibility is a key theme in these spaces, as they
meet the needs of students during the day and the local
community after hours and on weekends. Communi-
ties use their local school buildings for a wide variety
of needs, including meetings, athletic activities, the-
atrical performances, concerts, presentations and as
polling places. School districts building or retrofitting
a K-12 facility should anticipate the full range of func-
tions likely to take place there and incorporate a flex-
ible lighting control system into the design.
Today’s building codes, such as ASHRAE/IESNA
90.1, Title 24 or IECC, require some sort of lighting
control. The degree of control required by each code
varies. In some cases, code compliance might specify
A/B switching in a space; in other situations the code
might require four zones of passive daylighting with
occupancy sensors.
Let’s take a walk through a typical school building,
room by room, and assess how controls can fit into the
design.
General spaces. For general spaces in a school—lob-
bies, corridors, restrooms, offices, maintenance areas,
etc.—there are three important characteristics to con-
sider when designing a lighting control strategy: energy
efficiency; life safety/security; and architectural high-
lights. If a general space is only used at certain times
during the day (or sporadically), automated controls
such as occupancy sensors can ensure energy savings
while the space is unoccupied. Occupancy sensors
placed in hallways can be programmed so that fluores-
cent lights never fully shut off, only dim significantly,
when the hallway or corridor is unoccupied so that en-
ergy savings are realized while still maintaining the re-
quired minimum footcandle level for safety purposes.
In some general spaces, such as parking lots, stadi-
um areas and athletic fields, time-clock control of the
lighting is a great strategy to ensure efficiency. Time-
clock control can be integrated into the lighting con-
trol panel or can stand alone on the system ensuring
that lights are turned on/off to a pre-specified level at
predetermined times. One of the most common uses of
time-clock control is site lighting for parking and exte-
rior areas around the school building. In these cases,
most time-clock controls utilize an astronomical time
clock that can be programmed to manipulate the light
LD+A September 2008
TECHNOLOGY
levels based on time of sunrise and sunset, as well the
traditional 24-hour schedule.
Architectural highlighting can also influence the
lighting control strategy. Time-clock control can in-
corporate specific lighting control solutions to high-
light the architectural features of the school building
without sacrificing energy efficiency.
Specialized spaces. Lighting control in specialized
spaces—e.g., student commons—helps create archi-
tectural detail and ambiance. Student commons have
evolved a great deal over the decades and now accom-
modate a majority of social and educational activities.
These areas now serve as a signal of the school’s com-
mitment to its students—and they are created to help
make students feel comfortable and welcome. As such,
the lighting control strategy for the student commons
area should include an intuitive manual control that al-
lows the teachers and students to manipulate the light
levels based on personal preference and the activity at
hand. Additionally, many student commons spaces in-
corporate a large amount of daylight, as well as shad-
ing to control glare. An effective way to maximize the
efficiency of the daylit space is to incorporate daylight-
ing controls with the electric lights. Photocells or day-
light sensors can compensate for the varying degrees
of ambient light in the student commons by switching
or dimming the lights down throughout the day so the
space is comfortable (not overlit) and is not an unnec-
essary burden on the school’s electric bill.
Multi-purpose spaces. Multi-purpose spaces are
the most flexible in the building. They host numerous
secondary functions, such as theatrical performances,
concerts, presentations and other events. To meet their
requirements, school officials must have the ability to
completely control the environment—not just lighting,
but sound, windows and other technologies that should
be integrated. Integration of all these features can be
done through dimming and shading interfaces, as well
as through traditional preset controls with interfaces
that tie into the A/V system.
Classrooms. As classroom/lab spaces have become
more dynamic—with computer workstations, tradition-
al instruction, audio/visual systems and interactive
white boards—they require greater levels of control. In
addition, multiple classrooms can be combined to cre-
67
TECHNOLOGY

Table 1.
Controls For All Spaces

ace
nterf
ol r
Cont

trol I
l
ntro

ol
ol
ades

l
ntro

r
r

l Con
y Co

ol

Cont
llbox

Cont

ol

r
w Sh

Cont
r
k

Cont
cy C
panc
Cloc

trica
l Wa

onal
ight
o

e
n
Wind

Occu

Zone

Scen

Thea
Time

Vaca
Loca

Dayl

Courtesy of Lutron. Copyright © 2006 Lutron. Pers

ate a large space for grade-level instruction or multi-
class projects. Manual control is the most commonly
used classroom lighting control. Traditionally, manual
control in the classroom, such as inboard/outboard
switching, allows the lights to be turned on or off uti-
lizing a wall control providing three light levels: Full
On, Full Off, 50 percent.
Recently, dimming controls have made their way
into the classroom space. Dimming allows the teacher
to adjust the lighting to a precise level needed for the
activity at hand in the classroom. Providing classroom
users with access to more than three light levels can
not only improve the learning environment by increas-
ing productivity, but dimming can also substantially
reduce electricity consumption in the classroom and
prolong the life of the lightbulbs.
Occupant sensors are used in many of today’s class-
rooms. Some building codes such ASHRAE/IESNA
90.1-2004 prescribe occupancy sensors in all class-
room spaces. Most classroom occupancy sensors em-
ploy two technologies to control the lights. The first is
passive infrared technology which senses occupancy
by detecting the difference between heat emitted from
the human body in motion and the background space.
The second is ultrasonic technology, which senses oc-
cupancy by bouncing ultrasonic sound waves (32KHz-
45kHz) off objects in a space and detecting a frequency
shift between the emitted and reflected sound waves.
Dual-technology occupancy sensors use both passive
infrared and ultrasonic technologies for maximum re-
liability. These sensors minimize the risk of false trig-
gers (lights coming on when the space is unoccupied).
Both ultrasonic and passive infrared technologies must
detect occupancy to turn on the lighting, while con-
tinued detection by only one technology will keep the
lighting on.

68 www.ies.org

Daylight sensors (or photo sensors) cause the lights
closest to windows to dim or switch off as daylight
pouring into the room increases. In most classroom sit-
uations, daylight harvesting combined with dimming
the fluorescent lighting is ideal because throughout
the day it is less distracting than daylight harvesting
combined with switching zones. Normally, daylighting
applications break the room into three to four zones.
Each zone responds differently to the reading that the
daylight sensor is taking depending on its programmed
required light level. Daylight harvesting is a great way
to take advantage of an abundance of natural light in a
space from windows, light shelves or skylights, with-
out sacrificing any of the capability of the classroom on
days or at times that natural light isn’t sufficient.
Ideally, a classroom will use combined control tech-
niques (occupancy control, daylight harvesting and
manual control) that offer a blend of automatic and
manual control. This allows for the right lighting level
for any given task and maximizes energy savings.
Table 1 serves as an example of how one state-of-
the-art lighting control system could be set up for a
school/campus, addressing a host of different needs.
IN ACTION
The Arlington Heights, IL, School District 25 initiated
a pilot project by installing a lighting control system in
one classroom during the 2007-08 school year. Electric-
ity consumption was reduced by 50 percent without
sacrificing the quality of the classroom lighting, reports
energy manager Robert Schultz. The lighting is calmer,
not as glary and softer, according to the teacher who
uses that room.
In Allentown, PA, dimming controls and daylight
sensors installed in two classrooms at the 124-year-old
Grover Cleveland Elementary School have cut lighting
energy by 53 percent. During video presentations, the
lights at the front of the classroom are dimmed to re-
duce glare and improve screen contrast, while a second
group of lights positioned above the students remains
just bright enough to allow students to see their desks
clearly and take notes easily. Daylight sensors measure
the amount of natural light entering the room and dim
the fluorescent lights accordingly. Greater student at-
tention spans, motivation and attitude seem to be the
LD+A September 2008
TECHNOLOGY
50 Aces the Test
A score of 50 in school is usually not something
to aspire to...unless you’re testing footcandle lev-
els. That’s the target at Desert Oasis High School in
Clark County, NV, which has installed 66 daylighting
units in a gymnasium, activity center/cafeteria and
five classrooms on the up-
per level of the two-story
building. The 2,400-student
school opened in August.
On virtually all school
days, the school expects
the fluorescent lights to re-
main off in the areas where Daylighting units
illuminate a gym.
the daylighting units are
installed. Daylight alone
should provide a light level of 50 fc with a CRI of 100.
The SunTracker system was supplied by Ciralight,
Park City, UT. Prismatic acrylic units were used, rather
than flat skylights, due to the high ceilings (40 ft in the
gym and 40 ft in the cafeteria). The shape of the units
allows natural light to be more evenly diffused across
the room, says Ciralight’s Rex Miller. They measure
52.2 in. x 52.2 in. by 26 in. and weigh 58 pounds. The
roof opening is 46.5 in. by 46.5 in.
The daylighting units are projected to save the
school approximately 95,040 kWh per year, translat-
ing to a $7,400 annual saving in energy cost.
—Paul Tarricone
result. Says principal Robert Wheeler, “The teachers
tell me it’s now a distraction to use a regular classroom
that doesn’t have this new technology in it. I can’t guar-
antee any individual student is learning more, but I can
guarantee more students are learning.”
About the Author: Steve Beede is a market development man-
ager for Lutron Electronics Co., Inc., Coopersburg, PA, a designer/
manufacturer of lighting controls for residential and commercial
applications.
69
LIGHT PRODUCTS
u Mobern Lighting Company has unveiled a new scented light designed
for commercial applications. The light provides both bright illumination and
a long-lasting fresh linen scent. When the light is on, fragrance is emitted
directly from the exclusive end cap unit. The fresh linen fragrance emits for up
to a year and is especially effective in bathrooms. Its sleek look and durabil-
ity come from P3 technology using post-powder paint. The scented series is
EPAct-compliant, which exceeds Energy-Star efficiency ratings. Ideal appli-
cations include hotels, hospitals, restrooms, locker rooms, nursing homes,
dormitories and restaurants. www.mobern.com

t Sternberg Lighting introduces its 1914 Libertyville lighting fixture. With a Victorian design
reminiscent of the early 1900’s, this downward light fixture has up to 81 percent efficiency
and a one-pieced computer-designed and -engineered optic system. The 1914 Libertyville is
constructed of die-cast aluminum and is available with options including light sources, lenses, arms, wall
brackets and standard or custom colors. Lenses are available in tempered flat glass, tempered sag glass
or prismatic teardrop in glass or acrylic design. With a IP66 classified optical assembly and tool-less tech-
nology with full cut-off optics, the 1914 Libertyville is suitable to enhance streetscape lighting. It is offered
with a variety of optical systems, including the NightSky StarShield and Opti-Shield roof and louver
optics. www.sternberglighting.com

u Lamp ooo! is the result of a collaboration between Italian architect Sergio Mannino and Dutch
designer Jan Habraken. ooo! contains three 10-W lightbulbs and is a stylish ornament which can
be stuck in between a pile of books. While looking for a suitable manufacturer to mass produce the
lamp, Mannino and Habraken will sell their light, together with a stack of books personally
handpicked, in a limited edition of 99 signed pieces. The lamps will come with different books
and each one of them will tell a different story. www.sergiomannino.com

t Kumho Electric introduces Sequoia, a new series of T5 fluorescent lamps with

expected lamp life of over four times as long as other T5s. Sequoia has a patented cath-
ode design first developed for use in top-of-the-line backlight display panels. Sequoia
T5 lamps are suitable for illumination of areas such as sports arenas, warehouses or factories. These settings, where lighting
fixtures are difficult to access, make re-lamping a costly process. But with Sequoia T5s, the cost of relamping is less than
half of what it would be with other brands. Sequoia lamps are capable of instantaneous restart, making it practical to control
them with occupancy sensors for additional energy savings. They are also a suitable replacement for hi-bay metal halides in
a variety of applications where they will not only slash maintenance costs, but cut energy consumption. Sequoia has a CRI
greater than 82 and lumen maintenance is good with light output dropping by only 5 percent at 30,000 hours and less than
8 percent at 100,000 hours. The F54T5HO lamps are available in four color temperatures: 3,000K, 3,500K, 4,100K and 5,000K.
www.kumhoelectric.com

70 www.ies.org
u Richelieu’s latest LED technology enables one to retrofit halogen MR16 30-W fix-
tures with 3-W lighting that combines the brightness of power LEDs while consuming 80
percent less power. The MR16 3-W series was designed for applications such as residen-
tial, retail and architectural lighting in showrooms, exhibits, displays, tracks, rails, cables,
pendants and more. The series features two models: one projects a direct light beam at:
30 deg, while the second projects a wider bean at 45 deg. Both are available in cool and
warm white. They can be used in standard MR16 sockets without dimmers to replace halo-
gens through an easy retrofit, no additional wiring or changes are required. This lighting
provides low heat without UV or IR light radiation. They feature an optical grade PMMA clear
lens, a molded aluminum with silvery anodized finish housing and a GU5.3 base (MR16). www.richelieu.com

t Chloride’s white LED edge-lit Caliber Signage offers computer-generated

custom graphics and wording to suit wayfinding or informational needs. With
the use of long-lasting, energy-efficient white LEDs, Caliber Signage is more
visible than traditional signage while maintaining low power consumption
and long life. With both a slim profile and numerous available finishes, Caliber
Signage is designed to fit any architectural space. Installation is made easy and
accommodates recessed ceiling, surface ceiling, surface end and surface wall mount configurations out of one box. Available
in a wide range of decorative finishes, the housing is constructed of die-cast aluminum. The panel is manufactured from high-
impact acrylic with silk-screened computer-generated artwork. Caliber Signage is listed to UL 48 standards, is IC rated and is
damp-location listing standard. www.chloridesys.com

u Spaulding Lighting has introduced the M-Pulsive High-Performance Area/Site Lighter to its line
of architectural outdoor luminaires. Designed for the mid-specification and design/build communi-
ties, the M-Pulsive’s tool-less entry and tool-less removable door offers a variety of benefits. With the
tool-less features, the M-Pulsive has a more robust design and also offers ease-of-use benefits for main-
tenance and installation. Additionally, there is less opportunity for contractor error during installation and maintenance.
The M-Pulsive also provides one-piece housing, recessed doorframe and extruded silicone gasket for cleaner appear-
ance of the optical assembly; expanded wattages (now standard down to 250 watts), reflector options (horizontal lamps
now available) and offerings of mounting accessories and round pole adapters; and full cut-off performance certified
with International DarkSky Association’s Fixture Seal of Approval. www.spauldinglighting.com

LD+A September 2008 71

LIGHT PRODUCTS
u Alera Lighting announces the Microlyne Rectilinear
Family, a collection of narrow aperture fluorescent fixtures
designed to highlight architecture, maintain aesthetic continu-
ity throughout each luminaire design and provide installation
advantages. The line includes three narrow aperture linear
styles in eight mounting types and products were developed
to either work alone or together in groups. Specifiers are able
to choose among four distribution methods, three fluorescent
lamp sources, two light modules and three corner selections.
In addition, five shielding options allow for visual consistency across all three sequentially graduated rectilinear shapes.
Designed to be placed at, below or above the ceiling plane, the fixtures are suitable for office settings, retail environments
and institutional applications such as schools and healthcare facilities. Available as a cable mount, surface mount, wall mount
or recessed in 3.5-in. and 2.5-in. apertures, three modular housing styles may be mounted in single or row configurations.
Featuring an aesthetically pleasant high-efficiency parabolic louver, the family is 85.5 percent efficient; its smaller counterpart,
the Mini has an efficiency rating of 83.5 percent. An available option is the addition of either MR16 or LED downlight modules
at the end of each luminaire in single or row placement. www.aleralighting.com

u Hubbell Outdoor Lighting has

added the compact LCC and large
LLC series to its Laredo family of
full cutoff decorative wallpacks.
The new additions are now avail-
able to complement the existing
mid-size LMC wallpack, which cov-
ers mounting heights from 10 to 15
ft and has options such as integral battery
back up for CFL models. With target mounting heights from
6 to 10 ft, the compact LCC series services lower mount-
ing heights for entry or perimeter applications and features
horizontal lamps in CFL, pulse start MH, HPS and LED. This
accent wall pack has two-point mount, 3.5-in. conduit hubs
and optional -EM mini-can auxiliary socket for remote egress
power capability. The larger LLC series provides the higher
wattage needed for mounting heights of 16 to 25 feet. www.
hubbelloutdoor.com

72 www.ies.org
LIGHT PRODUCTS
u The new X-Bar HIP from Acclaim Lighting is IP-rated and has a sleek, compact profile, which keeps it “out of sight”
in interior/exterior architectural wall washing applications. The X-Bar HIP comes in a variety of different versions: both AC
and DC models in RGB (red-green-blue color-mixing), CW (cool white) or WW (warm white). All versions of the X-Bar HIP are
equipped with 36 high-power 1W Luxeon LEDs, which work with its standard lenticular lens system to produce a 10 x 40 beam
angle, making it ideal for long throw wall wash applications. All versions of the X-Bar HIP are DMX compatible and feature
built-in programs and dimming. Each fixture consumes
only 50 watts of power, and its LED lamps have an antici-
pated lifespan of 50,000 hours under normal use. www.
acclaimlighting.com

74 www.ies.org
EVENTS ß September 22-23: The
Kirlin Company is offering
its 2008 series of seminars
on “Healthcare and Medical
Lighting.” Held at Reflection
Point, Detroit, MI, topics will
include healthcare trends
and its impact on lighting;
lighting for aging vision; IES
requirements for patient exam
lighting, procedural lighting
requirements in LDRPs, cardiac
cath labs, ICU/CCUs. Earn 8.0
LEUs for NCQLP re-certification
credits, 0.75 CEU authorized by
IES and 8.0 AIA/CES credits to-
wards Health, Safety & Welfare.
Each one will receive a copy
of IESNA RP-29-06. For more in-
formation Contact: Toni Adams
313-259-6400 ext 317 or E-mail:
info@kirlinlighting.com or go to
www.kirlinlighting.com
ß September 22-23: Cooper
Lighting is offering “Energy
Solutions for Commercial and
Industrial Lighting Design.”
This two-day class held at its
Peachtree City, GA, facility
focuses on lighting design
76
techniques for industrial,
manufacturing and warehous-
es. Methods of minimizing
environmental impact of build-
ings and reducing energy use
and understanding of lighting
legislation. Focus on the ef-
fects of color and brightness,
lamps, ballasts and controls,
criteria for equipment selec-
tion with an overview of com-
puter-aided design tools and
requirements and exceptions
in LEED, ASHRAE/IESNA 90.1,
IECC and EPAct. Prerequisites:
Lighting Fundamentals or un-
derstanding of lighting basics.
CEU’s up to 12 hours available.
Cost $350. For more informa-
tion: Contact: Jere Greiner
770-486-4680 or E-mail
Source@cooperlighting.com
or go to www.cooperlighting.
com/education
ß September 22-24: Holo-
phane is offering “Advanced
Roadway.” This two-and-
a-half day seminar held at
Holophane’s Light and Vision
Center, Granville, OH, is
designed for roadway light-
ing designers, engineering
consultants and specifiers.
A multi-level exploration of
roadway lighting fundamen-
tals, concepts and design
covers lighting and vision
fundamentals, evolution
of roadway lighting, RP-8
current practice, optics and
photometry, visibility issues,
environment issues, roadway
lighting products, high-mast
lighting design process,
tunnel lighting and AASHTO
update. Registered for 9
learning units (HSW) with
AIA, 9 PDHs with NCEES and
qualifies for 9 NCQLP lighting
education units. For more
information Contact: Katie
Barber 740-349428, E-mail:
KBarber@Holophane.com or
go to www.holophane.com
ß September 22-24: OSRAM
SYLVANIA is offering OSRAM
SYLVANIA is offering “Light-
ing Essentials” in Westfield,
IN. Tailored for the begin-
ner and refresher for the
experienced, this fundamen-
tals course focuses on light,
vision, and color followed by
the operation, performance,
and application of lamps, bal-
lasts and power supplies. For
more information Contact:
LIGHTPOINT at 978-750-2464,
E-mail: myLIGHTPOINT@
sylvania.com, or go to www.
sylvania.com/LearnLighting/
LIGHTPOINT.
N September 23: IES Phila-
delphia is hosting, Lights of
Philadelphia 2008 “Lighting
for a Green World,”a lighting
educational conference to be
held at The Crown Plaza, Phila-
delphia, PA. This one day event
will feature more than 15 semi-
nars with AIA, ASID, IIDA and
IES accreditations. For more
information Contact: Sarah C.
Dennie 856-889-6830, E-mail:
sarah.dennie@holophane.com
or go to www.iesphl.org
ß September 23-25: The Light-
ing Research Center (LRC) LED
Lighting Institute is offering a
three-day hands-on seminar
at Rensselaer Polytechnic
Institute, Troy, NY. Learn the
basics of LED technology while
building an understanding of
LED system integration issues
involving the electrical, optical
and thermal characteristics of
LEDs. Learn to measure and
evaluate LEDs and LED systems
and compare technologies
from a variety of manufactur-
ers. Participants will design,
build and evaluate their own
LED fixtures. You will receive a
continuing education certificate
in LED Lighting and 3 CEUs.
For more information Contact:
Dan Frering, LRC manager of
education, E-mail: frerid@rpi.
edu or go to www.lrc.edu/
education/outreachEducation/
LEDInstitute.asp
ß September 25-26: GE Light-
ing and Electrical Institute
2008 is offering “Outdoor
Lighting.” This course held
at Nela Park, Cleveland, OH,
is designed for landscape
architects, park and recreation
officials, safety directors,
facility managers and others
involved in the specification or
installation of exterior lighting.
Application-oriented presenta-
www.ies.org
EVENTS tions feature lighting system
selection criteria for facades,
walkways, parking areas,
landscape lighting, streetlight-
ing, monuments and signage.
Key themes include sustain-
able design including energy
conservation, control of light
pollution and maintainability
and lighting for safety and
security. For more information
Contact: 800-255-1200 or go to
www.gelighting.com
78
ß September 25-26: Cooper
Lighting is offering “Advanced
IRiS Solutions Workshop,” This
two-day seminar held at their
Peachtree City, GA, facility is
geared for people involved in
design specifications or the
installation of interior down-
lighting systems, will increase
understanding of residential
recessed lighting design and
provides advanced experience
in the use of the IRiS Lighting
System with an overview of
lamp design process, IRiS
specification sheets and instal-
lation techniques. Prerequi-
sites: Lighting Fundamentals
or a firm understanding of
lighting basics. A Cooper Light-
ing Agent recommendation is
required. CEU’s: Up to 12 hours
available. Cost $350. For more
information: Contact: Jere
Greiner 770.486.4680 or E-mail:
Source@cooperlighting.com
or go to www.cooperlighting.
com/education
ß September 28-30: GE Light-
ing and Electrical Institute 2008
are offering “Green Buildings,”
the practice of creating healthier
and more resource-efficient
models of construction, renova-
tion, operation, maintenance,
and demolition. Held at Nela
Park, Cleveland, OH, this
conference is geared to property
and facility managers, energy
managers and other key deci-
sion makers in businesses and
institutions, it offers the latest
strategies for improved lighting,
controls, benchmarking LEED
certification for new and existing
buildings. For more information
Contact: 800-255-1200 or go to
www.gelighting.com
N September 29-October 1:
INTERTECH will sponsor LEDs
2008 the 9th Annual LEDs pro-
gram to be held at the Sheraton
San Diego Hotel & Marina, San
Diego, CA. Discover what’s
hot in the new markets, what
applications are generating
revenues (short term and
within the next 2-5 years), the
latest breakthrough technol-
ogy, how LEDs are faring in
gaming, display and signage
as well as practical applications
in lighting design. For more
information Contact: www.
ontertechusa.com/conference
ß October 6-8: Holophane is
offering “Distributor Seminar.”
This two-and-a-half day seminar
held at Holophane’s Light and
Vision Center, Granville, OH,
is designed for outside sales
representatives and branch
managers in the distribution
channel. It will cover lighting
and vision fundamentals, optical
control and photometrics with
an overview of both, lamps and
ballasts, metal halide vs. fluores-
cent for high-ceiling applications,
industrial lighting, commercial
and retail lighting, architectural
outdoor lighting and new prod-
ucts. Registered for 7 learning
units (HSW) with AIA, 7 PDHs
with NCEES and qualifies for 7
NCQLP lighting education units.
For more information Contact:
Katie Barber 740-349428, E-mail:
KBarber@Holophane.com or go
to www.holophane.com
www.ies.org
ß October 6-8: OSRAM SYL-
VANIA is offering “Lighting
Essentials” in Danvers, MA.
See (September 22-24).
ß October 6-8: GE Lighting and
Electrical Institute 2008 is offering
“LC Exam Prep Course.” This
comprehensive three-day course
held at Nela Park, Cleveland, OH,
is designed to provide partici-
pants with an in-depth final re-
view, prior to taking the Lighting
Certified (LC) exam administered
by the National Council on the
Qualifications for the Lighting
Professions (NCQLP) in Novem-
ber 2008. A panel of experts will
provide an overview of subject
matter identified by NCQLP in
the examination content outline.
Topics include survey/audit
procedures, the lighting design
process, financial analysis,
installation and commissioning,
operations and maintenance,
and regulatory compliance.
Participants are strongly encour-
aged to review primary reference
materials recommended by NC-
QLP prior to taking this course.
(This course is not associated
LD+A September 2008
with NCQLP and completion of
this course does not guarantee
that the participant will pass the
LC exam.) For more information
Contact: 800-255-1200 or go to
www.gelighting.com
N October 6-8: Intertech-
Pira will hold its 2nd Annual
Application of High-Power
Semiconductor Lasers 2008
Conference to be held at the
Doubletree Hotel San Diego
Mission Valley, San Diego, CA.
This Conference is devoted
to advancing the use of semi-
conductor lasers in industry,
medicine/biomedicine,
defense, aerospace, homeland
security and displays as well
as other emerging applica-
tion areas. The conference
will bring laser manufactur-
ers and component vendors
with current and prospective
users of semiconductor laser
technology together to discuss
market developments, applica-
tion demand and technol-
ogy requirements. For more
information Contact: www.
ahpsl-conference.com
ß October 8-10: Cooper Light-
ing is offering “Lighting Funda-
mentals/ Lighting Basics.” This
three-day workshop held at
its Peachtree City, GA, facility
focuses on the fundamentals of
lighting, light, sight and color,
lamps and ballasts, cost of
light, lighting terminology, pho-
tometry, optical control and
luminaires. For newcomers or
those interested in a refresher
course. No prior experience in
lighting is required. CEU’s up to
20 hours available. Cost $500.
For more information: Contact:
Jere Greiner 770-486-4680 or
E-mail: Source@cooperlight-
ing.com or go to www.cooper-
lighting.com/education
N October 9-11: The Lighting
Convention, Queenstown,
New Zealand 2008 sponsored
by IESANZ (Illuminating En-
gineering Society of Australia
and New Zealand) , will be
held at the Queenstown NZ.
The theme of the convention
is Quality Lighting: efficient,
effective, sustainable. Three
keynote speakers include Jim
Benya, AND Kevin Dowling
(USA) and Kevan Shaw (UK).
For more information Contact:
Tracy Bronlund +6494204966
or go to www.iesanz.org
N October 12-15: The IES Street
and Area Lighting Conference
held at the Denver Marriott City
Center Hotel, Denver, CO, is the
premier forum for industry pro-
fessionals to openly exchange
information on outdoor lighting
issues. The conference will focus
on the power of lighting in our
communities and the value of
outdoor lighting partnerships,
practices, viewpoints and
solutions in lighting the exterior
environment. For more informa-
tion Contact: Valerie Landers,
212-248-5000 ext. 117 or go to
www.ies.org
Events KEY
N = tradeshows & conferences
ß = educational opportunities
For all Industry Events go to
the website www.iesna.org
81
 AD INDEX AD OFFICES
The companies listed below would like to tell you more about their products
and services. To learn more, access the websites listed here.
Company Website Page #
ADVERTISING
Acuity Brands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.acuitybrands.com . . . . . . . . 77 OFFICES
ALANOD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.alanod.com . . . . . . . . . . 10
GENERAL OFFICES
Alera Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.aleralighting.com . . . . . . . . . 4 LD+A Advertising Department
Amerlux . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.amerlux.com . . . . . . . . . . 27 Leslie Prestia
120 Wall Street, 17th Floor
Canadian Standards Association . . . . . . . . . . . . www.csa-international.com . . . . . . 25
New York, NY 10005-4001
Canlyte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.canlyte.com . . . . . . . . . . 75 (212) 248-5000 ext. 111
Columbia Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . www.columbialighting.com . . . . . . . 8 (212) 248-5017/18 (fax)
lprestia@iesna.org
Con-Tech . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.con-techlighting.com . . . . . . 55
Cooper Lighting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.cooperlighting.com . . . . . . . . 3 NEW ENGLAND/
Cree . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.cree.com . . . . . . . . . . . 33 MID-ATLANTIC
Brett Goldfine
Elliptipar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.elliptipar.com . . . . . . . . . . 31
Leonard Media Group
Finelite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.finelite.com . . . . . . . . . . 79 PO Box 220
Focal Point . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.focalpointlights.com. . . . . . . . 6 415 Horsham Road
Horsham, PA 19044
Full Spectrum Solutions . . . . . . . . . . . . . . . . . . www.fullspectrumsolutions.com . . . . 60
(215) 675-9133 ext. 226
GE Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.gelighting.com . . . . . . . . . 19 (215) 675-9376 (fax)
Gotham Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.gothamlighting.com . . . . . . . . 2 brett@leonardmedia.com
States serviced: NY, NJ, CT, VT, MA, NH,
Hydrel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.hydrel.com/lasn.html . . . . . . 29
RI, ME, MD, DE, Wash DC, VA, NC, & PA
IES Annual Conference . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.ies.org. . . . . . . . . . . . . 80
IES Aviation Committee . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.ies.org. . . . . . . . . . . . . 81 SOUTH/MIDWEST
IES Howard Brandston’s Learning To See . . . . . . . . . . . .www.ies.org. . . . . . . . . . . . . 84 Bill Middleton
Middleton Media
IES RP-28/Lighting For Senior Living . . . . . . . . . . . . . . . . .www.ies.org. . . . . . . . . . . . . 54 561 Robin Lane
IES Street and Area Lighting Conference . . . . . . . . . . . .www.ies.org. . . . . . . . . . . . . 86 Marietta, GA 30067
ILED . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.iledco.com . . . . . . . . . . . 76 (770) 973-9190
(770) 565-7013 (fax)
Kim Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.kimlighting.com . . . . . . . . . 23 midmedia@aol.com
Kramer Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.kramerlighting.com . . Cover 3 States serviced: GA, SC, TX, OK, AR, LA,
Kumho Electric . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.kumhoelectric.com . . . . . . . 32 MS, AL, FL, TN, NE, KS, MO, IA, MN,
WI,IL, MI, IN, KY, OH, WV, ND, & SD—and
Leviton Lighting Management Systems . . . . . . . . . . . .www.leviton.com . . . . . . . . . . 34 Canadian Provinces of Ontario, Quebec,
Lighting Analysts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.agi32.com . . . . . . . . . . . 11 New Brunswick, Newfoundland and Labra-
Lumecon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.lumecon.com . . . . . . . . . . 72 dor, Nova Scotia and Prince Edward Island

Lutron Electronics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.lutron.com . . . . . . Cover 4 WEST

Martin Professional A/S . . . . . . . . . . . . . . . . . . .www.martin-architectural.com . . . . . 5 Peter D. Mullins
Nichia America . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.nichia.com . . . . . . . . . . . . 1 P.O. Box 274
Lafayette, CA 94549-0274
NoUVIR Research . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.nouvir.com . . . . . . . . . . . 24 (925) 385-0151
Osram Sylvania . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.sylvania.com . . . . . . . . . . 35 (925) 385-0155 (fax)
Panasonic Lighting Division . . . . . . . . . . . . . www.pewa.panasonic.com/full2way . . 15 pmullins@iesna.org
States serviced: CA, MT, ID, OR, WY,
Peerless Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . www.peerless-lighting.com . . . . . . 13 UT, NV, WA, CO, AZ, NM—and Canadian
Precision Architectural Lighting . . . . . . . . . . . . . . . .www.pal-lighting.com . . . . . . . . 43 Providences of Manitoba, Saskatchewan,
Prescolite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.prescolite.com . . . . . . . . . 49 Alberta and British Columbia
Robertson Worldwide . . . . . . . . . . . . . . . . . . . . . . . .www.robertsonww.com. . . . . . . . 74 LD+A Article Reprints-
Samsung . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.sem.samsung.com . . . . . . . . 9 Print and Electronic
Sensor Switch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .www.sensorswitch.com . . . . . . . 18 Nedda Maloles
Reprint Specialist
Spectrum Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.speclight.com . . . . . . . . . 28
(717) 481-8500
SPI Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.spilighting.com . . . . Cover 2 nmaloles@reprintdept.com
Sternberg Lighting . . . . . . . . . . . . . . . . . . . . . . . . .www.sternberglighting.com.. . . . . . 78
Visa Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.visuallighting.com, . . . . . . . 73
Watt Stopper/Legrand . . . . . . . . . . . . . . . . . . . . . . . . www.wattstopper.com . . . . . . . . 17
This index is provided as a service by the publisher, who assumes no liability for errors or omissions.

LD+A September 2008 83

 NEW MEMBERS
Membership Committee chair Carla Bukalski announced the IES gained three Sustaining Members and 70
members (M), associate and student members in July.
Sustaining Members
Colortec Iluminacao, Ipero, Brazil
Intematix Corporation, Fremont, CA
Interstate Electrical Services, N. Billerica, MA
Midwest Region
Natasa Cekic, karpinski Engineering, Cleveland, oH
Mike Donovan, Pure Lighting, Chicago, IL
Steven A. Johnson, Southern Lights LLC,
Carbondale, IL
Richard C. Laird, Richmond, kY
Gregory M. Nixon (M), Gary Steffy Lighting Design,
Ann Arbor, MI
Puiu Nick Popa, oSRAM SYLVANIA, Round Lake
Beach, IL
Jesse J. Zellmer, Wisconsin Public Service,
Green Bay, WI
Northeast Region
Scott A. Bedont, Concurrent Technologies
Corporation, Johnstown, PA
Greg Boehner, Interstate Electrical Services,
North Billerica, MA
Mizanur R. Choudhury (M), Newark, NJ
Nick D. DeVito, Sylvania Lighting, Stamford, CT
Matt Latchford, Lam Partners, Inc., Cambridge, MA
Gary Newman, Howard Lighting Products, Inc.,
Marlboro, NY
Celeste Rega (M), Ithaca, NY
Alok Thakur, EarthTech, New York, NY
Timothy E. Vander Meer, Energy ottawa, Inc.,
ottawa, oN
Syracuse University
Thomas P. Nowakowski
University of Toronto
Cristian Contreras
SOUTH REGION
George R. Brandes, Cree, Durham, NC
Ricardo S. Espinola Sr (M), Acuity Brands,
Mexico, Mexico
Daloss J. Falghou Jr, Jefferson Parish, Street
Lighting Division, Jefferson, LA
Luis Fernandez de Castro, Ross and Baruzzini,
Miami, FL
Scott C. Gilbert, oSRAM SYLVANIA, St Johns, FL
Andy kyler, Holophane, Alpharetta, GA
Francisco Z. Rodriguez, MJS Lighting Consultant,
Houston, TX
Wei Rong, Cooper Lighting, Peachtree City, GA
James R. Steelman III (M), Lighthouse Engineering,
Raleigh, NC
Teresa Chataignier Vidrine (M), Architectural Lighting
Consultant, Galvez, LA
kirk E. White (M), Atlantic Energy Concepts,
Fredericksburg, VA
Greg Wronski (M), Cooper Lighting, Peachtree City,
GA
West Region
Hovsep Alabashyan, ForTech Solutions, Inc.,
North Hills, CA
Talin Avadian, California Lighting Sales,
Irwindale, CA
Sean Bourquin, Carmanah Technologies, Victoria, BC
Ilkan Cokgor, Intematix Corporation, Fremont, CA
Adela Cruz, kim Lighting, Industry, CA
kurt R. DeVinney, kim Lighting, West Hills, CA
John Dobbie, kim Lighting, Industry, CA
Scott Dumas, David Scott Lighting, LLC,
San Rafael, CA
Stephane Ernoux, International Rectiier,
El Segundo, CA
Albert Fernandez, CWA and Associates, Inc.,
Rancho Cucamonga, CA
Steve S. Gallup, City of Eugene PWM Trafic
operations, Eugene, oR
Gwen Giles-Green, CLS, Irwindale, CA
Lindsay Gillespie, Francis krane & Associates, Inc.,
Los Angeles, CA
Simon D. Harkins (M), Jordon Skala Engineers, Inc.,
Las Vegas, NV
Fred V. Hartley (M), IDC Architects - CH2M Hill,
Portland, oR
Ramelle Hill, California Lighting Sales, Irwindale, CA
Chad Johnson, CED Cerritos, Fullerton, CA
Sara Jones, Francis krahe & Associates,
Los Angeles, CA
Natasha kennett (M), Port Coquitlam, BC
Beck krajcir, kim Lighting, City of Industry, CA
Sarah Namdar, Francis krane & Associates,
Los Angeles, CA
kurt D. Nielsen, Seattle, WA
Patrick F. o’Connor, Sylvania, Chandler, AZ
Michele Perry (M), California Lighting Sales,
Irwindale, CA
Vince Piurkowsky, CED, Cerritos, CA
Marylou Rosales, California Lighting Sales,
Irwindale, CA
kathy Schnabel (M), NTD Architecture,
San Dimas, CA
W Randall Sgro (M), kim Lighting, Comita, CA
kanwalpreet S. Sidhu (M), Seattle City Light,
Seattle, WA
Chris Stieg, CV Lighting, Menita, CA
Norma Torres, California Lighting Sales,
Irwindale, CA
Monita Verma, PBS Engineers, Glendora, CA
Marylyn Waring, Bridget Williams Lighting Designs,
ontario, CA
Allen Wise, California Lighting Sales, Irwindale, CA
International Region
Alejandro Casteleiro, Tecartex Digital Solutions, SL,
Badajoz, Spain
Jonathan Lee Chee Yuen, Targetti Poulsen Asia
Pte Ltd, Singapore, Singapore
oscar N. De la Cruz (M), Lighting Design &
Application, Manila, Philippines
Caio Grossn Leite, Colortec Iluminacao, Ipero, Brazil
kie B. Nahm (M), Hallym University, Chunchon,
kangwon, South korea
kam kong Yan (M), Demiurge Unit, kowloon, Hong kong

H O W A R D B R A N D S T O N
Take your design to the next level of creativity. Read LEARNING TO SEE: A Matter of Light
by Howard Brandston. In his book, Brandston shares valuable insights on design and the art of lighting.
List Price: $65.00 IES Member Price: $50.00

LEARNING TO SEE
A Matter of Light
Excel
Be Creative
“...a book that meets all the criteria for one you
won’t want to put down.” Dan Ciampa, author of Taking
HOWARD M. BRANDSTON

Advice: How Leaders Get Good Counsel and Use it Wisely

www.ies.org

84 www.ies.org
 SUSTAINING MEMBERS
The following companies have elected to support the Society as Sustaining Members
which allows the IESNA to fund programs that benefit all segments of the membership
and pursue new endeavors, including education projects, lighting research and
recommended practices. The level of support is classified by the amount of annual dues,
based on a company’s annual lighting revenues:
Axis Lighting, Inc.
Diamond: $15,000 annual dues Bartco Lighting, Inc.
Lighting revenues over $500 Barth Electric Co., Inc.
million The Belfer Group
Beta Lighting
Emerald: $10,000 annual dues Birchwood Lighting, Inc.
Lighting revenues to $500 million BJB Electric Corporation
Border States Electric Supply
Platinum: $5,000 annual dues Brite-Lite Wholesale Lighting
Lighting revenues to $200 million Bulbrite Industries, Inc.
Carmanah Technologies
Gold: $2,500 annual dues Celestial Products
Lighting revenues to $50 million City of San Francisco
Con Edison of New York
Custom Lighting Services LLC
Silver: $1,000 annual dues Day Lite Maintenance Co.
Lighting revenues to $10 million DMF Lighting
Dynamic Lighting, Inc.
Copper: $500 annual dues Eastern Energy Services, Inc.
Lighting revenues to $4 million Eclipse Lighting, Inc.
(Copper members are listed in one Eiko Ltd
issue of LD+A each year, as well as Elliptipar
in the IESNA Annual Report.) Encapsulite International, Inc.
ENMAX
DIAMOND Enterprise Lighting Sales
Cooper Lighting ETC Architectural
GE Consumer & Industrial Lighting EYE Lighting Int’l of NA
Hubbell Lighting, Inc. Garper Energy Solutions
Lithonia Lighting Gammalux Systems
oSRAM SYLVANIA Products, Inc. Green Light Solutions
Philips Lighting Co. Illuminating Technologies, Inc.
Illumivision, Inc.
EMERALD kramer Lighting
Holophane Corporation Lam Lighting
Lamina
PLATINUM LCA Holdings P/C
Day-Brite Capri omega Ledalite Architectural Products Inc.
Finelite, Inc. LED Roadway Lighting Ltd.
H E Williams, Inc. Lee Filters
Lightolier Legion Lighting Co.
Lutron Electronics Co, Inc. Leviton Mfg. Co. Inc.
RAB L ighting, Inc. Lighting Analysts, Inc.
Watt Stopper/Legrand Lightology LLC
LiteTech
GOLD Litecontrol Corp
Advanced Energy Ideas Litelab Corp
A.L.P. Lighting Components Inc. Lumascape USA Inc.
Altman Lighting Inc. Manitoba Hydro
The Bodine Company Manning Lighting
Canlyte a Genlyte Group Company Metalumen Manufacturing, Inc.
Con-Tech Lighting MP Lighting
Duke Energy Nebula Lighting Systems
Edison Price Lighting, Inc. Nora Lighting
Elation Professional oCEM Acquisition Corp. dba
Focal Point LLC optical Research Associates
Gardco Lighting optolum, Inc
Halco Lighting Technologies Paramount Industries, Inc.
Indy Lighting, Inc. Peter Basso Associates, Inc.
Intense Lighting Q-Tran
IoTA Engineering LLC Reflex Lighting Group, Inc.
i Works RENoVA Lighting Systems, Inc.
kenall Mfg Co. Richard McDonald & Associates, Ltd. - Calgary
The kirlin Company Richard McDonald & Associates, Ltd. -
kurt Versen Co. Edmonton
Lighting Science Group Corporation Ruud Lighting Canada Corp.
Lighting Services Inc Schneider Electric Mexico
LiteTouch Inc. Sentry Electric Corporation
Louis Poulsen Lighting Shakespeare Composites & Structures
LSI Industries, Inc. Southern California Edison
Lucifer Lighting Co. Strand Lighting, Inc.
Martin Professional, Inc. StressCrete king Luminaire Co.
Musco Lighting, Inc. Tennessee Valley Authority
National Grid Tivoli, LLC.
Neonlite Electronic & Lighting (Hk) Limited Traxon Technologies
Prudential Lighting Corp TWS Engineering Ltd.
San Diego Gas & Electricw US Architectural Lighting/Sun Valley Lighting
SPI Lighting Utility Metals
Sternberg Lighting Velux America Inc.
TMB WJ Whatley Inc.
Visa Lighting WAC Lighting, Co.
Vista Professional outdoor Lighting Wisconsin Public Service Corp
Zumtobel Lighting, Inc. Wybron, Inc.
Xal, Inc.
SILVER
Ardron-Mackie Limited
Associated Lighting Representatives. Inc. IES SUSTAINING
MEMBERS
Astra Lighting Limited
Aurora Lampworks
As of June 2008

LD+A September 2008 85

 Groshart Heads to

IES FYI
Members in
Nepal To Deliver the News
W.A.C. Lighting is providing relief
Solar Lighting efforts to help earthquake victims in
western China. W.A.C. employs 42
System people from the earthquake zone,
IES Member Chad Groshart, a lighting designer with the environmental de- seven of whom lost their homes
sign firm Atelier Ten, is helping to bring the concept of sustainable lighting to there. The firm has helped raise near-
rural Nepal. He will visit the country in October to install a solar lighting sys- ly $250,000.
tem. The trip is in support of the Himalayan Light Foundation, which provides Leviton has appointed Mike Mat-

photovoltaic panels, battery arrays and simple low-wattage fluorescent or LED tei to vice president and general
manager for its commercial and in-
lamps to rural villages.
dustrial business.
After arriving at the Himalayan Light Foundation headquarters, Groshart will
Keith Patterson (left) has
be trained in the installation and troubleshooting of the system. From there, he
been hired as a senior elec-
will travel with a local guide to deliver the system by bus, truck and finally by
trical designer at SSOE.
trekking the last few hours to the village. Home stays with a village family are
Lou Preston (right) has
provided for several days as he installs the system and trains the users in its
been named national sales
maintenance and operation. director at Precision-Lighting.
Groshart is currently soliciting charitable donations for the project. Dona- Con-Tech Lighting has launched a
tions can be made online and all funds will go directly to the HLF. A tax receipt Hospitality Division for North America
will be generated for those wishing to claim a donation. HLF is a registered and has promoted Jake Summers to
501-C(3) organization. For more information or to donate, visit www.firstgiv- lead this initiative as sales manager.
ing.com/bringingthelight. Finelite was awarded the 2008
Business Environmental Award for
best Environmental Enterprise by
Celebrating IIDA ‘08 Acterra for its Integrated Classroom
Lighting System and its LED-task
Photos: Cookie Septimus and Ahron Weiner

Personal Lighting System.

Zachary Suchara, senior light-
ing designer and associate of Luma
Lighting Design, received his Oregon
architectural license.

The IESNY Section held its Lumen Awards

Gala in June honoring 14 recipients.
IES Calendar of
Events
Oct 12-15, 2008
IES Street & Area Lighting
Conference
Denver, CO

Nov 9-11, 2008

IES Annual Conference
Savannah, GA
Contact: Valerie Landers
The IES New England Section’s end-of-year IIDA banquet 212-248-5000 ext.117
was held in May. Pictured, all of the IIDA recipients.
www.ies.org

LD+A September 2008 87

IES FYI
IES Launches New Website
The IES unveiled a new website in July showcasing the organization’s re-branding and a new set of attributes (au-
thoritative, informative, technically advanced, excellent, visionary, progressive, collaborative, innovative and dynamic)
that position it to meet the challenges of the lighting industry in the second century of service to members. Brand Logic
worked with the IES to redesign the logo and website.
The website is designed to better serve IES members and the public.
For members, new features make it easier to navigate the website and en-
hance the visibility of member benefits. For all visitors browsing the site,
new informative features are combined with a more inviting look to build
awareness about what constitutes quality lighting. Describing the changes,
Prof. Ronald Gibbons, IES president, said the website “will become a key
resource for the whole organization. It not only informs members about
what the IES does for them, but it also details how they can get involved,
which is vital to a standards writing organization like ours.”
Visit the new site at www.ies.org.

IES Presents Awards

Pamela Horner is this year’s recipient of the Louis B. Marks Award, an award which recognizes excep-
tional service to the Society of a non-technical nature. Horner, director of industry relations and standards
for OSRAM Sylvania, joined the IES in 1977. In addition to her considerable service to a number of sections,
she has served as Society president (2001-2002), as director on the Society’s Board (1989-1990, 1997-1999)
and as RVP director (1988-1989). She served as chair of the IES Centennial Conference Program Committee
and as chair/member of numerous committees. In 2004, she received the Society’s Distinguished Service Award.
Her educational leadership and initiatives include teaching courses, seminars, workshops and forums, all of which go
beyond teaching to policy making and advocacy for quality lighting in the development of sustainable lighting design
practice. For the 2007 Quality Lighting in a Green World Symposium, she brought together representatives of the build-
ing industry to address partnership to ensure quality in sustainable lighting design.
In all of her service to the industry and to the Society, she demonstrates her care about lighting and its effect on the
environment and society. Pam Horner is an inspiration and role model for future generations of lighting professionals.
Martyn Timmings, vice president of development for Canlyte, Inc. (Toronto, Canada), is this year’s re-
cipient of the Distinguished Service Award (DSA), which recognizes service, principally of a non-technical
nature, having significantly furthered the purpose for which the Society was founded and continued over
a number of years in various programs and activities. Timmings has been active in the IES since 1978 and
has been involved in the Toronto Section, having served as president (1981); he served as Canadian re-
gional vice president (1989-1994), holding the position of regional director (1992-1993). This was followed by his roles as
vice president - design and application (1994-1998), director (1998-1999) and as president (2000-2001). In addition, he has
served on at least a dozen committees, currently serving on the Technical Review Council (2002-2005, 2007-2010), and the
Quality of the Visual Environment Committee (1995-present). Timmings has presented numerous technical programs. He
is a strong advocate of quality lighting and serves as a resource to all those concerned with lighting.
Christie Clowes and Marissa Gesell from Penn State University are recipients of the 2008 Howard Brandston Student
Lighting Design Education Grant. This award was established to encourage and recognize students who have demon-
strated exceptional professional promise through the presentation of an original and ingenious solution to a supplied
design problem.

88 www.ies.org