Yesterday we surveyed a site in D.C. for a possible new Vapiano restaurant. The NYC flagship renovation begins soon, and a new location opens in Chicago later this year, all with lighting design by Studio T+L.
Yesterday we surveyed a site in D.C. for a possible new Vapiano restaurant. The NYC flagship renovation begins soon, and a new location opens in Chicago later this year, all with lighting design by Studio T+L.
One of America’s greatest and most prolific theatre architects, Hugh Hardy, passed away on Thursday at the age of 84. We had the great privilege of being the lighting designers for Hugh and his team on the renovation of the public spaces of the New Victory Theatre on 42nd Street, which will open later this year. His wit, generosity, and knowledge were always evident and always appreciated. Here is his obituary in the New York Times.
I have a current project with a green wall, aka living wall, and other greenery in the space. I’ve been given conflicting information about the lighting requirements I need to meet are and how to measure them, so I did some research. This isn’t definitive, but here’s what I’ve found.
First of all, the measurement units that we’re all familiar with don’t apply to horticulture because the average plant’s response to light is very different from that of the human visual system. We know that the human eye response curve is V(λ) (pronounced vee lambda) which is shown in Figure 1. Our response to electromagnetic energy falls between 380 and 770 nm, with a peak response at 555 nm. In order to measure light the way the human visual system perceived it, V(λ) is folded into the definition of the lumen, the footcandle, etc.
Figure 1 V(λ)
Plants, however, have a response curve called the photosynthesis action spectrum, shown in Figure 2. The wavelengths of light that are absorbed and used by plants are below 520 nm and above 610 nm [i], which roughly equates to the blue and red range of the visible spectrum. Plants need a great deal of red light, a far amount of blue light, and little or no green light.
Figure 2 Average photosynthesis action spectrum of chlorophyll [ii]
So, we can’t talk about the amount of light delivered to plants in a useful way if we’re using lumens and footcandles. The measurement of light for plant health is Photosynthetically Active Radiation (PAR) [iii]. There are PAR calibrated light meters, and digital tools to convert lux/footcandle readings to PAR. Other common measurements are also not relevant to horticulture.
What kind of light should we provide? Incandescent light has an appropriate balance of red and blue light for plant health, as shown in Figure 3. The power consumption will be high. Fortunately, power consumed by the lighting for plant health is exempt from the energy conservation codes. However, with their short life and high power consumption incandescents are, overall, a poor choice.
Figure 3 SPD for incandescent light of 2800 K, 3000 K, and 3200 K [iv]
High color temperature metal halide lamps have been the horticulture light source of choice for a long time because their SPD provides an appropriate balance of red and blue light (Figure 4). While metal halide lamps are being replaced by LEDs in many applications, I expect they will be available for at least the next decade. For my project, these fixtures would only to be used during the green wall’s growth period in the morning before the space opens to the public. A second set of fixtures with warmer light will be used when the space is open so that I could light the wall in a way that is in balance with the rest of the space during operating hours.
Figure 4 SPD for a 4200 K metal halide [v]
One of the exciting features of LEDs is that they permit fine-tuning of the emitted spectrum. With LEDs it is possible to create a light source that closely follows the photosynthesis action spectra. This has been shown to “improve factors such as yield, flavor, color, plant growth, and flowering as well as pest and pathogen management and control.”[[vi] The impact has been studied, and results so far have been positive, for leaf lettuce [vii], cucumbers [viii], and tomatoes [ix], among others. At least one study has noted, however, has “concluded that the response of plants to the applied light is individual and depends on the species,” [x]
Therefore, an alternative to metal halide fixtures is multi-colored LED fixtures. Since multi-colored LED fixtures allow users to control the brightness of each color individually one could opt for a fixture with a Red, Blue, White (RBW), a Red, Red, Blue, White (RRBW), or a Red, Blue, Blue, White (RBBW) set of LEDs. This would permit one fixture to provide light for health and accent light. One possible result of a RBW fixture is shown in Figure 5. This is a much better match to the photosynthesis action spectra than incandescent, metal halide, or white LEDs.
Figure 5 Possible RBW LED produced SPD
For the time being, the people responsible for the greenery have asked me to stay with the tried and true metal halide lamps. In the near future, as metal halide lamps become rarer, and as LEDs become more common in horticulture, I expect we’ll be changing over to LEDs.
[i] Yingchao Xu, Yongxiao Chang, Guanyu Chen, Hongyi Lin, The Research On LED Supplementary Lighting System For Plants, Optik – International Journal for Light and Electron Optics, Volume 127, Issue 18, September 2016, Pages 7193-7201, ISSN 0030-4026, http://dx.doi.org/10.1016/j.ijleo.2016.05.056.
[ii] The Science of Food Production, http://www.bbc.co.uk/education/guides/z23ggk7/revision/2.
[iii] Torres, Ariana P., Lopez, Roberto G., Measuring Daily Light Integral in a Greenhouse, Department of Horticulture and Landscape Architecture, Purdue University, https://www.extension.purdue.edu/extmedia/ho/ho-238-w.pdf
[iv] Livingston, Jason, Designing Light: The Art, Science, and Practice of Architectural Lighting, Hoboken: John Wiley and Sons, 2014.
[vi] Davis, Philip A. and Burns, Claire, Photobiology In Protected Horticulture, Food and Energy Security 2016: 5(4): 223-238. http://onlinelibrary.wiley.com/doi/10.1002/fes3.97/full
[vii] Filippos Bantis, Theoharis Ouzounis, Kalliopi Radoglou, Artificial LED Lighting Enhances Growth Characteristics And Total Phenolic Content Of Ocimum Basilicum, But Variably Affects Transplant success, Scientia Horticulturae, Volume 198, 26 January 2016, Pages 277-283, ISSN 0304-4238, http://dx.doi.org/10.1016/j.scienta.2015.11.014.
[viii] Brazaityte, A., et.al., The Effect Of Light-Emitting Diodes Lighting On Cucumber Transplants And After-Effect On Yield, Zemdirbyste, Volume 96, Issue 3, 2009, Pages 102-118. https://www.scopus.com/record/display.uri?eid=2-s2.0-73949144018&origin=inward&txGid=7294EF1D0E6304BAA77C73981961A69E.wsnAw8kcdt7IPYLO0V48gA%3a2 (Login Required)
[ix] Brazaityte, A., et. al., The Effect Of Light-Emitting Diodes Lighting On The Growth Of Tomato Transplants, Zemdirbyste, Volume 97, Issue 2, 2010, Pages 89-98, https://www.scopus.com/record/display.uri?eid=2-s2.0-78249276864&origin=inward&txGid=7294EF1D0E6304BAA77C73981961A69E.wsnAw8kcdt7IPYLO0V48gA%3a7 (Login Required)
[x] Fra̧szczak, B., et. al., Growth Rate Of Sweet Basil And Lemon Balm Plants Grown Under Fluorescent Lamps And Led Modules, Acta Scientiarum Polonorum, Hortorum Cultus, Volume 13, Issue 2, 2014, Pages 3-13, https://www.scopus.com/record/display.uri?eid=2-s2.0-84898647440&origin=inward&txGid=7294EF1D0E6304BAA77C73981961A69E.wsnAw8kcdt7IPYLO0V48gA%3a12 (Login Required)
Measuring and describing the brightness of colored LEDs is an increasingly important part of a lighting designer’s practice. They are used more often, and in more types of projects, than ever before. Yet, we don’t have an accurate method for understanding exactly how much light is being produced and how bright it will appear. It’s a problem that the lighting industry needs to solve, and soon.
The human eye does not respond to all wavelengths of light equally. We have the greatest response to the yellow-green light of 555 nm. Our response falls off considerably in both directions. That is, wavelengths of light do not contribute equally to our perception of brightness. The sensitivity curve of the human eye is called V(λ) (pronounced vee lambda) and is shown below.
The definition of a lumen, the measurement of brightness of a light source, is weighted using V(λ) and essentially assumes that the light source emits light across the visible spectrum – in other words, it produces a version of white light.
Light meters are calibrated to measure white light using V(λ) so that their measurement of brightness corresponds with our perception. Individual colored LEDs emit only a fraction of the visible spectrum, as shown below in the graph of V(λ) and the SPD of a red LED, and that’s the problem.
Light meters measure the light that the colored LEDs provide, of course, and this information is included on an LED fixture manufacturer’s cut sheets, but it often makes no sense. For example, an RGBW fixture I’ve arbitrarily selected reports the following output in lumens: Red 388, Green 1,039, Blue 85, White 1,498. Since brightness is additive, the output when all LEDs are at full should be 3,010 lumens. However the Full RGBW output is given as 2,805 lumens! That’s 7% lower than what we expect.
The essential problem is that the colored LEDs give the light meter only a fraction of the spectrum it’s designed to measure. The meter provides a result based on its programming and calibration, but the results are often nonsensical or at odds with our perception. This problem doesn’t affect only architectural lighting designers. Film and TV directors of photography and lighting directors also rely on a light meter’s accurate measurement of brightness in their work, and when using colored LED fixtures the light meter is likely to be wrong. In fact, even white light LEDs can be difficult to measure accurately because of the blue spike in their SPD.
For now, the only way to accurately assess the brightness of colored LEDs is to see them in use. Lighting professionals need to let manufacturers and others know that the current situation is not acceptable, and that an accurate method of measuring and reporting the brightness of colored LEDs is a high priority. Talk to fixture and lamp sales reps, fixture and lamp manufacturers, and decision makers at IES, CIE, NIST and other research and standards setting organizations. There’s a solution out there. We need to urge those with the skills and resources to find it to get going!
We recently examined several LED stage lighting units for a high school black box theatre with a 20’ high grid. The school is determined to have an all LED system, but doesn’t have the budget for top-of-the-line equipment. Our goal was to find a set of lower priced units with reasonable performance. It turned out to be harder than we thought. Here are our reviews:
Altman Pegasus LED Fresnel. This 140W white light LED Fresnel is a winner. The optics are very good, the intensity is great, and the dimming (when controlled via DMX) is very smooth all the way out. This unit uses standard 7.5” accessories, so the school’s existing accessories will fit it. This is one of the more expensive unit we examined, but the performance makes this fixture worth it.
Chauvet Ovation E-910FC. This 270W profile has very high color rendering (due to the Red, Green, Blue, Amber, Lime color mixing) and great intensity. The down side is that Chauvet’s optics are very poor. Whenever a shutter is used to shape the beam the multiple LEDs produce multiple shadows. This problem was evident for most of the second and third tier manufacturers. Although we didn’t test a template, we have to assume the same problem would occur, making this unit useless as a profile.
Elation Arena PAR Zoom. This 190W PAR has a motorized zoom, which simplifies making slight adjustments to the beam angle. The intensity was good, as was the dimming. The optics, however, were not. Each of the 19 LEDs has very good primary optics, but there is no secondary optic to homogenize the beam. This results in beam irregularities and produces multiple, clear shadows that would be unacceptable to an audience as close to the stage as they are in a black box theatre.
elektraLite 1018 PAR. This 216W PAR suffers from the same problem as the Elation PAR. There is no secondary optic, resulting in an unacceptable multiplicity of shadows.
ETC Source 4WRD Profile. This 155W white light LED profile is also a winner. The optics, intensity, and DMX dimming are all very good. This unit is $200-300 more than the other profiles we reviewed, but like the Altman Pegasus, its performance means that it can be used in the close quarters of black box theatres.
Osram Kreios Fresnel. This 80W white light LED unit has nice optics and an impressive zoom. The dim speed fading down to zero and up from zero is a little fast, but we think that can be managed by adjusting the dimming profile. Unfortunately, at only 80W this unit is too dim to be useful from a hanging height of 20’.
Osram Kreios Profile. Like the Osram Fresnel, this 100W white light LED unit also has nice optics and an impressive zoom. However, as with the Fresnel, it is better suited to smaller venues with lower hanging heights.
We plan on looking at other units, but our current thinking is that the school should have a base inventory of white light LED profiles (Source 4WRD) and Fresnels (Pegasus) that is supplemented with a small number of color changing profiles (ETC ColorSource).
In a project meeting yesterday a team member said that LED stage lights would save the owner money. While there are many reasons to include LED lights in a theatre’s equipment inventory, cost savings is not one of them. We’ve written a white paper, LEDs In Stage Lighting, that includes an economic analysis and simple rate of return. Get a copy here.
The DOE has just issued, Energy Savings Forecast of Solid-State Lighting in General Illumination Applications (PDF, 116 pages), the latest edition of a biannual report which models the adoption of LEDs in the U.S. general-lighting market, along with associated energy savings, based on the full potential DOE has determined to be technically feasible over time. The new report projects that energy savings from LED lighting will top 5 quadrillion Btus (quads) annually by 2035. Among the key findings:
Don’t have time for the full report? Download the report summary.
There’s a funny, but true, phrase understood by theatre professionals and amateurs alike. “In is Down, Down is Front, Out is Up, Up is Back.” And that’s just the beginning! An architect or engineer designing a theatre will hear common words used in nonsensical ways. For years we’ve kicked off projects by distributing an illustrated theatre glossary to everyone on our team. We’ve found it to be very helpful, since architects and engineers usually don’t know the lingo of the theatre. Now we’ve decided to make this short guide available to everyone. Our Illustrated Theatre Glossary eliminates confusion with clear definitions, descriptions, drawings, and photos. Definitions include:
We hope you find it useful!
Our own Lenore Doxsee will be lighting “Remains” a new work by John Jasperse at BAM’s Next Wave Festival this fall. The dance piece will run from September 21 – 24 at the Harvey Theatre. BAM describes the piece as “sampling fragments and phrases from the radical practices of his forbears while repurposing them within the contemporary present.”
Watch this interview with Mr. Jasperse.
By Jason Livingston
When my nephew was eight years old he came to visit me in New York for the first time and I bought us tickets to see “Lion King.” I paid about $100 per ticket for orchestra seats just off of the aisle. It was a lot of money to spend on an eight year old, but I love the theatre and hoped to engender the same love in my nephew. During the spectacular opening number he was so excited! He was on his feet looking around, and at the end of the opening he turned to me with huge eyes and a smile that stretched from ear to hear and said, “I like theatre, Uncle Jason!”
A few years later his little sister, then also eight, came to visit and I bought us tickets to “Wicked.” This time tickets about $125 and we were in the mezzanine house right. They weren’t ideal seats but they were the best reasonably priced seats I could get. My niece was silent throughout the show, and silent for about 20 minutes afterward. Then, suddenly, she was done processing what she had just seen and spent the next hour or more excitedly telling me everything she loved about the show. She couldn’t stop talking about it and even now, five years later, she still listens to the soundtrack, and it is one of the most memorable experiences of her young life.
During subsequent visits I’ve taken the kids to see “Annie,” “Blue Man,” “Matilda,” “Pippin,” and last year won Uncle of the Year by taking my nephew to see “Hamilton.” How do you engage a 16 year old? Find the one show that combines popular music with one of his interests, American history. I loved it, too. It is easily the best Broadway show I’ve seen in a decade, probably longer. The music and lyrics are smart, funny, and sophisticated with a breathtaking blend of traditional Broadway and hip-hop that works beautifully. And I wonder if it’s the last Broadway show I’ll be able to take the kids to see.
Why? Partly because I paid about $130 for seats in the second to the last row of the balcony. We were so far away that it was very difficult to make out facial expressions. More importantly, though, Broadway ticket prices are about to soar.
On Tuesday the show’s creator, Lin-Manuel Miranda, published an op-ed piece in the New York Times. In it he complains that the average Broadway lover can’t get tickets because ticket brokers are using computer software, called ticket bots, to buy up tickets as soon as they are released and then reselling them at huge markups. Ticket bots are currently estimated to be buying up to 25% of the show’s tickets. He calls for the state legislature to pass a bill that will curtail the use of these bots so that average people can buy tickets.
In retrospect, one has to wonder if this wasn’t just a campaign to soften up the reader for Wednesday’s announcement that “Hamilton” was raising top ticket prices to an unheard of $849 for center orchestra seats, and that all other ticket prices were going up by 12% to 29%, from $139 -$177 to $179 – $199. How long will it be before other shows follow? Orchestra seats are already over $400 on quite a few shows, and if “Hamilton” can get away with extortion level pricing, can “Book of Mormon,” “Wicked,” and others be far behind?
“Greed Is Good” Gordon Gekko
“No it’s not” Most of Humanity
The thing about the announcement that really angered me is a quote from Jeffery Seller, the lead producer, who said, “What has certainly been frustrating to me, as a business owner, is to see that my product is being resold at many times its face value and my team isn’t sharing in those profits.” I’ve checked the Constitution, the Bible, and the Complete Works of William Shakespeare and nowhere does it say that he’s entitled to all of the money. Perhaps I should have checked the Complete Works of Donald J. Trump.
In one year the show has already recouped its $12.5 million dollar investment, and is making an estimated $600,000 per week in profits. It’s on track to join “Wicked” with $1 billion (with a B) in sales. Last month the show cancelled $10 million in bulk ticket purchases because it suspected that ticket bots were involved, and in the next round of tickets to be release there will be a maximum of six tickets per purchase. The show is doing great, artistically and financially, and is taking big steps to limit ticket bot purchases. So what’s really going on here? I have to believe that it’s simple greed. And, while that greed may be great for this show’s investors, I worry about its impact on the theatre at large and the people who love it. Think about it – two tickets at $845, plus taxes and fees, will cost about $1,750. That’s more than my mortgage!
The show’s producers point out that there’s a ticket lottery – 46 tickets at $10 for each performance. However, that’s only 3.5% of the seats. 10,000 people per day enter the lottery for those $10 seats. Assuming that the seats are awarded in pairs, you have a .23% chance of winning seats. With those odds you can’t make plans to see “Hamilton,” you can only hope.
My youngest niece is two. I worry that in six years I won’t be able to take her to see her first Broadway show because two tickets will cost $500 or more. I won’t be able to pass on my love of great theatre, or at least not my love of great Broadway theatre. Is Broadway going to become like most opera, the domain of the rich, or will it remain accessible to all of the people who love it?