Monday, June 01, 1998
1998 Lumen Awards
1998 Lumen Jury
Reneé Cooley, Reneé Cooley Lighting Design
Richard Dorfman, H.M. Brandston & Partners
Audrey Matlock, Audrey Matlock Architects
Russell Ross, Meyer Strong & Jones
Leni Schwendinger, Light Projects
Thomas Thompson, Thomas Thompson Lighting Design
Christine Trauthwein, Architectural Lighting Magazine
Dennis Wedlick, Dennis Wedlick Architects
1998 Lumen Awards
New Amsterdam Theatre, New York, NY
Lighting Designers: Fisher Marantz Renfro Stone, Inc., Richard Renfro, Daina Yurkus
Architects: Hardy Holzman Pfeifer Associates
Owner: Walt Disney
The success of the New Amsterdam Theatre restoration was the blending of the historical refurbishment prerequisites with the visual expectations of our modern eye. To achieve this, the new lighting system had to overcome the glare and high contrast created by the original lighting design. To that end, the integration of contemporary lighting technology with the historically recreated fixtures was essential.
The New Amsterdam Theatre was the first theatre in New York to feature the latest invention of the time, the light bulb. Using only historical photographs, historical chandeliers and decorative lighting were recreated. For example, in the entry foyer, the fixture canopy was designed to conceal MR16 lamps which discretely highlighted the terra cotta friezes on each side of the foyer. This creates the illusion that the room was illuminated entirely by the historic chandeliers.
This approach of concealing the supplemental lighting to complement the original historical fixtures was used throughout the theatre. This allows the visitors to see the splendid historical texture and drama of the original building while experiencing a comfortable visual environment.
Lumen Award of Merit
Costume National, New York, NY
Lighting Designer: Universe Lighting, Matthew Tirschwell & Scott Thurm
Architect: Shop Architects, Chris Sharples
A “black hole” cut out of New York City’s facade, this retail fashion store demonstrates the ability to successfully showcase “downtown” clothing in a hip, unforgettable manner. Though entirely black, the interior design finishes are highly polished - the lighting floats in space.
The showroom is an open loft space that contains a center display table, clothing mounted on two sides, and clear edge-lit Plexiglas shelves.
The floor is specular, so a tight angle of focus towards the wall was designed. Direct light hits only the clothing. Filament-capped 10 degree spot lamps illuminate the clothing while limiting glare. Bayonet bases ease re-lamping. Lamps are mounted on a black baffled extruded raceway. Remote transformers are located nearby inside the light boxes to avoid voltage drop. End emitting fiber-optics are encased in a 1” square extrusion, end-positioned 1/4” on center and fastened onto the polished back edge of shelves. The other three edges are frosted, and “glow” a cool white light.
Long glowing rectangular and short square light-boxes dominate the ceiling. Lighting inside consists of long-life 35OO degree Kelvin compact fluorescent lamps, mounted on end, base up, 9” on center on an extruded metal housing.
A true reflection of the fashion it showcases, the architecture echoes the clothing design. Light adds structure to the unified environment.
Lumen Award of Merit
Best Cellars, New York, NY
Lighting Designer: Focus Lighting, Paul Gregory & Alex Sebeshalmi
Architects: The Rockwell Group, David Rockwell, Sam Trimble, Tim Archambault, Lorraine Knapp
This project is a radically new concept in wine retailing. The client’s goal was to demystify wine, to make wine easy to understand, easy to buy, and to promote the concept of “wines for every day.” Designed as a prototype for a national retail chain, the store sells 100 wines for under $10. Category titles such as fresh, soft, luscious, juicy, smooth, big, sweet, and fizzy are used to organize the wines instead of grape type or region.
A very light wood, American Sycamore, surrounds the room with accents of hand-rubbed burgundy plaster walls. The floor is polished concrete. The store’s design allows the wine bottles to be the stars of the show. Custom back-lit cabinetry displays the bottles, providing a spectrum of color to the space and high visibility from the street.
The fronts of the cabinets are lit from the ceiling by halogen track lighting. The back lighting of the cabinets was rigorously tested and designed to minimize heat gain. UV light damages wine, so it was necessary to filter the light and ventilate the cabinets by fans.
A special UV-protected Plexiglas and UV blocking gels separate the lamps from the wine.
Lumen Award of Merit
Paper Moon Milano. Istanbul, Turkey
Lighting Designer: Arc Light Design, David Singer & Katherine Bird (assistant)
Architect: Tony Chi Associates
Owner: Paolo Lattanzi
This Italian restaurant, located in an upscale area of Istanbul, caters to the local residential community. The restaurant, which is open for lunch, dinner and late night dinning, has become a designation for its neighborhood. The restaurant features include the bar, display pizza kitchen, “formal” dining space and a “casual” lounge style drinking and dining space.
The front and back bars are lit by low voltage downlights that create a dramatic effect. At the back of the bar is the pizza oven.
The chandelier acts as screen for the downlights and provides a soft hg for the bar dining in front. The display cases, which create the layering effect separating the dining rooms from the bar, have low voltage lights to highlight the displayed objects.
The dining rooms are lighted by recessed low voltage fixtures above the tables. The light quality is softened with the use of silk shaded pendants, chandelier sconces, all of which were designed in-house and produced in Turkey. The front dining room banquette is backed by glazed panels, which are front lit by decorative pendants. These panels can be pivoted to provide a visual connection to the back dining room.
On the other side of the Bar is the Lounge; whose main feature is the back lit display cases on the long walls that provide ambient light. Small glass sconces placed high to provide light at the ceiling. Low voltage adjustable surface mounted fixtures mounted to the side of beams give the center seating area added sparkle.
Lumen Award of Merit
Rite Aid Pharmacy, Queens, NY
Lighting Designer: Ann Kale Associates, Ann Kale
Architect: Lee Levine Studio
Not your average Rite Aid, this store is located in a turn-of-the-century neoclassical bank building located in the Ridgewood section of Queens, NY. Challenging Rite Aid’s instructions to install their standard 12’ -0” ACT ceiling, the architect and the Rite Aid project manager went out on a limb to ensure that the neighborhood’s most prized building remained largely intact.
As a concession to avoiding a new low ceiling, the designers were required to meet the mandatory 12’-0” mounting height for the standard issue 8’-0” long fluorescent lamps. Wanting to avoid a forest of pendants, two truss structures were located on axis with the two entrances to the rear pharmacy. Supported by webs of metal cables and small front columns, the designers affectionately refer to them as Brooklyn Bridges. For additional uplight, metal halide low-bay glass reflector fixtures are mounted upside-down to the structure.
The grand aisles are illuminated via pendant mounted metal halide high-bay glass reflector fixtures, providing a visual link between the matching entrance am rear windows of the main sales area. The perimeter walls are highlighted by bare lamp fluorescent channels on tops of wall display cases as a means of drawing shoppers’ attention to distant sales areas.
Beyond the rear wall, where the bank vault was once located, is the pharmacy. A horseshoe pattern of bare fluorescent channels connects the two truss structure located in the main sales area.
Once completed, the Rite Aid was commended by public officials and local newspapers for their commitment to preserving one of the few treasured buildings in the Ridgewood area.
Lumen Award of Excellence
Byzantine Fresco Chapel, Houston, TX
Lighting Designer: Fisher Marantz Renfro Stone, Inc., Paul Marantz, Barry Citrin
Architect: Francois de Menil
Owner: The Menil Foundation
In 1993 two mid-l3th century Byzantine frescos, which had been stolen from a small chapel near Lysi, Cyprus, were recovered and restored by the Menu Foundation. Francois de Menil was commissioned to design a new home in Houston for the frescos. The design evokes the original chapel in luminous diffuse glass.
The lighting challenge was to evoke a spiritual quality for the chapel and the frescos while still providing adequate light for varying functions. The chapel, though part of a museum, is consecrated and used for religious functions. The spiritual effect was achieved by making the glass panels appear to glow and by uniformly highlighting the frescos. A preset dimming system provides flexibility to control the contrast, color and intensity. An essential requirement was to insure that no shadows were cast onto the fescos or the glass.
Lumen Award of Excellence
Exhibit for ID Magazine Annual Design Review
Lighting Designers: ID Magazine
Architect: American Institute of Graphic Design, New York, NY
Focus Lighting: Rockwell Architecture Planning and Design, P.C.
Owner: Chee Pearlman
The design of the 1997 exhibition is meant to express the feeling of planets in orbit. Blue walls will surround the suspended products hung by aircraft cable varying in height from 2 1/2 to 7 1/2 feet. Spot lights will dramatically highlight the individual exhibits underscoring the theme of the planetary universe.
The space was transformed from a brightly lit space filled with daylight to the deep blue vacuum of space. This was accomplished by window masking, painting all surfaces various shades of dark blue hue. Using low voltage pin spots from above, it was possible to light just the objects with minimal spill light. In addition, the use of 20 metal halide programmable lighting heads with blue dichroic filters, each focused on a “planet” base and sequenced to shift bases simultaneously at preset intervals gave the space a feeling of being set to the celestial clock of a blue sun.
Over 2,000 products and projects in eight categories - Consumer Products, Furniture, Graphics, Equipment, Concepts, Environments, Packaging, and Student Work, represent the best designs produced in the past year. Each category was evaluated by a panel of practitioners recognized for professional excellence and expertise in their respective fields.
Lumen Award of Excellence
Glowing Topiary Garden, New York, NY
Lighting Designer: Jim R. Conti
Landscape Architect: Ken Smith
Owner: Alliance for Downtown NY
The project site encompasses a city block in downtown Manhattan known as Liberty Plaza. A sound and light environment transforms the park into a formal garden-like arrangement of topiary forms. The installation consisted of sixteen 16-foot tall translucent cones installed over the park’s existing light and one 24-foot tall cone located at the center of the park. The location of the cone revealed the formal nature inherent in the existing light pole arrangement.
In addition to the original light poles providing illumination at the top of the cones, three wet location fluorescent fixtures equipped with color filters were in a tripod like arrangement at the base of each pole. The fixtures facing west were deep amber; southeast, brilliant yellow; and northeast, pale lavender. The changing nature of color perception resulted from the constant change in point of view one strolled through the park.
A sound element consisting of 200 wind chimes installed in the trees w; complemented by solid state digital sound boards installed in the eight cones arrayed around the larger central cone. These played 32 sampled low frequency bell sounds in a continuously evolving looping arrangement that contrasted with the randum frequency sounds of the wind chimes.
The large effective area of the cone shaped elements together with their illumination produced a nighttime environment of low contrast and gentle luminosity. The overall effect of the sound and light created an ambient environment give a sense of being a totally self-contained space within the city.
Lumen – Feltman Award
I-Natural, New York, NY
Lighting Designer: Ann Kale Associates, Ann Kale, (Principal), Chi Ming (Project Manager)
Architect: JB&D Consultants
This New York City cosmetics store needed to compete for attention within a landscape of Soho designer stores and restaurants. Once inside, the lighting needs to be flattering to customers sitting at make-up tables.
The narrow, tall space is filled with light. General illumination is provided by a series of white translucent glass clerestories, using two rows of 18 fluorescent lamps. 3000 degree Kelvin is used for its warm color, complementary to skin tones and the pale yellow paint finish.
Over the make-up tables, incandescent pendants hang from long stems to accentuate the high ceiling. White glass globes, located just above head height, provide warm colored light at low, flattering angles. Ceiling mounted recessed MR-16 adjustable accent lights are located just behind customers sitting at the make-up tables. The added punch of light provides shine to the customer’s hair without causing facial shadows.
Wall displays are rear illuminated by fluorescent channels mounted to the backs of the cases and concealed by frosted glass. Added punch on the cosmetics is provided by Q35MR-16 downlights mounted within the cases. The end wall display, filled with strong graphics and cosmetics, is highlighted by a series of light weight wall brackets, complete with adjustable angle Q35MR-16/Narrow Flood lamps.
As this store serves as the prototype for a nation wide chain, all fixtures were selected with budget in mind.
Lumen – ERPI Award
New Terminal, Washington National Airport, Washington, D.C.
Lighting Designer: Horton Lees Lighting Design Inc., Stephen W. Lees
Design Architect: Cesar Pelli & Associates
Architect of Record: Leo A. Daly
Associate Architect: Pierce Goodwin Alexander & Linville
Owner: Metropolitan Washington Airports Authority
Horton Lees involvement on the new terminal project at Washington National Airport began in July 1991 when the firm participated in a thorough photographic and written survey of the existing conditions. The historic nature of the original terminal became both a source of design inspiration and a dilemma (restoratively speaking) for the team. Ultimately, the new terminal reflects the historic and civic nature of Washington, D.C. It utilizes state-of-the-art energy-conserving lighting systems as well as addressing critical maintenance issues. The project responds to the nation’s energy concerns by using less than one watt per square foot of connected lighting load.
The lighting was integrated into the architectural structure to softly illuminate the corrugated metal vaults which enhances their grandeur. Small metal halide PAR38 fixtures discreetly placed in the vaults add sparkle and a lively animated character to the public areas. A family of signature fixtures using 35OO degree Kelvin fluorescent T8 lamps was developed and used in various ways to illuminate piers, circulation corridors, baggage claim and the departures curb area. The character of these fixtures echoes the dynamic form of an airplane wing. The form is used in a variety of locations from the building entrance to the departure/arrival gate areas.
This project is a fitting gateway to our nation’s capital. The different themes of the roadway, site and interior lighting have been integrated to create a poetic cohesion in tune with the functional requirements of the airport.
Lumen – EPRI Award
Dana Farber, Boston, MA
Lighting Designer: Syska & Hennessy, Mary Ann Hay & Bill Kuchier
Architects: Shepley Bulfinch Richardson & Abbott
Interior Designer: Rothman Partners, Dana Farber
Owner: Tom McNamara
The sponsors of a new cancer treatment center for women wanted to create a comfortable, calming and non-institutional environment for patients and their families. The lighting design was developed in concert with the interior design and required extensive coordination and creativity due to a restricted slab clearance of only 9’-1”.
Energy efficiency and maintenance were major concerns for this large health care/research facility. Therefore, the fluorescent family of lamps was designated for 90% of the space and halogen lamps were only utilized selectively for special features.
The first impression as you enter each floor from the elevator is a warm inviting environment. Cove lighting and regressed illuminated niches draw patients into the main reception area. Fluorescent channels concealed above the millwork provide ambient illumination at the reception areas and compact fluorescent downlights accentuate the contour of the reception desks. Floating art glass panels partition the waiting areas from the reception area and are grazed with adjustable PAR 20’s. The circulation areas are visually quiet with focus placed on artwork and exam room entries. The exam rooms are predominantly illuminated with indirect lighting which consists of a wall mounted indirect extrusion and fluorescent channel concealed above millwork.
The supplemental 2 x 2 exam light is only turned on as required during the examination. The on-site boutique allows patients to receive personalized and compassionate attention in the purchase of accessories which are required during regular cancer treatments.
The entire facility has been enthusiastically received by patients, their families and medical professionals. It is a model environment for providing comfort and the promotion of healing patients who are struggling with battles against cancer.
1998 Lumen Awards Committee
Paul Kittas, Audio Command Systems
Babi Satzman, Luxo Corporation (Enterprise Lighting Sales at 7/1/98)
Philip Cialdella, Louis Poulsen, Inc.
Brad Telias, Electric Lighting Agencies
1998 Lumen Gala Committee
Carrie Knowlton, Ann Kale Associates
Patricia DiMaggio, Osram Sylvania Products, Inc.
Steve Katz, Continental Lighting Systems Inc.
William Maiman, Lighting Dimensions Magazine
Debora Tuichin, Domingo Gonzales Design
Sabra Zacharias, Horton Lees Lighting Design, Inc.