I’m Presenting at LEDucation 2018

This year LEDucation, the largest LED only trade show and educational forum in the U.S., will be on March 13 and 14.   On Tuesday the 13th from 11 am to 12:30 pm I’ll be presenting a forum called How To Use TM-30, along with Dr. Michael Royer of Pacific Northwest National Laboratory and Wendy Luedtke of ETC.  Here’s a summary of the event.

This presentation discusses a number of design trends that are currently shaping the industry and promising to redefine the role of lighting as we know it. New technologies are making dimensions such as color and dynamic behavior over time viable for main-stream lighting, and that constitutes exponential change. This presentation explores a few of the dimensions that appear to be gaining traction, and attempts to illuminate some of the reasoning behind their development. Implications to the user experience are discussed, along with the inadequacy of present lighting metrics.

See you there!

The Impact of Computer Usage on Academic Performance

For over a decade research has shown that allowing students to use computers to take notes in the classroom has negative effects, including a lower quality of notes and reduced information retention, as described here, here and here.  Even students who don’t use computers are so distracted by the screens of students who are that they are impacted, too, as described here.

Now researchers at MIT have the results of a randomized trial that they conducted with the United States Military Academy (West Point) that reinforces the finding of previous studies.  The study “prohibited computer devices in randomly selected classrooms of an introductory economics course at the United States Military Academy. Average final exam scores among students assigned to classrooms that allowed computers were 18 percent…lower than exam scores of students in classrooms that prohibited computers. Through the use of two separate treatment arms, we uncover evidence that this negative effect occurs in classrooms where laptops and tablets are permitted without restriction and in classrooms where students are only permitted to use tablets that must remain flat on the desk surface.” (emphasis mine)

I still don’t prohibit computers in my classroom, mostly because sometimes the easiest way to answer a question is to go online and show an application or a fixture cut sheet, and my students follow along to bookmark the sites.  However, I do make students aware of the pitfalls of computer use by including the above links in my syllabus.  Most of them seem to respond to the information by limiting their computer use and using a paper and pen.

Edison Price “Light In Action” 2016

A former student of mine who works for Edison Price Lighting is organizing a group of seminars they’re calling “Light In Action.”   It takes place here in NYC at EPL’s showroom and factory, and includes demonstrations of lighting techniques, discussions on the future of LEDs (led by a representative from Xicato) and dimming LEDs (led by a representative from eldoLED), as well as a factory tour.   Sounds fun, right?  There are six dates between now and the end of the year.  Visit EPL’s web site for more information.

What Happened to IYL?

Elizabeth Donoff asks “International Year of What?” in her editorial in this month’s Architectural Lighting, and I have to agree with her.  Early last year I noted that our professional organizations showed no plans to take advantage of the International Year of Light, and indeed nothing worth mentioning happened.  The professional societies of the lighting community (IES, IALD, etc.) added the International Year of Light logo to their web sites, but that’s about all.  They held no significant events, published no important documents, and made no efforts to raise the visibility of the profession with potential employers (architects and owners) or with the public at large.  The IALD boasts that their regularly scheduled events were added to the IYL calendar, but say nothing as to what resulted, probably because the result was nothing.  Lightfair 2015 was business as usual, I saw no recognition of IYL.

The entertainment industry did no better.  United Scenic Artists Local 829, the union for theatrical designers, didn’t recognize the opportunities, nor did USITT, and at LDI (the entertainment industry equivalent of Lightfair) there was no sign that anyone knew about IYL.

As I’ve written before (see here and here, for example), and as many of us know, far too many projects are built with poor lighting because lighting design is seen as an added cost that can be avoided by having the architect, electrical engineer, or lighting sales person provide the “design” instead of a trained, professional lighting designer.  Hoping this will change won’t change this.  On an individual level, designers can educate their clients about the benefits of thoughtfully designed lighting, but it takes a larger, more expensive effort to reach those who don’t interact with lighting designers.  Only manufacturers or professional organizations have the resources.

What could they have done in 2015, or what can they do this year?  For starters, I’d like to see the IALD and/or the IES sponsor  sessions on lighting design at the annual conventions of organizations such as  AIA, ASID, and SCUP.  Let’s get in front of the decision makers and teach them about what good lighting can mean to them.  Topics such as energy efficiency, code compliance, and daylighting, as well as the more artistic and aesthetic sides of lighting design, are all appropriate and would, I think, be well attended.  If we want lighting design to be seen as an integral part of any building project we have to work at it.  Adding a logo to a web site isn’t enough.

Who Needs A Lighting Designer? Museums and Galleries!

A few weeks ago I gave a three-hour seminar on lighting museums and galleries to the graduate students in an art curating program at a university here in New York. Condensing everything I’d like to say into less than three hours was tough. The two big questions were what to include and what to leave out. I started with a quick overview of how to think about light and lighting before moving on to basic vocabulary and some common lighting techniques. Then, since LEDs are clearly the future, even when lighting art, I moved on to an overview of both color temperature and color rendering. I talked about reference materials such as the IES Lighting Handbook, intensity and brightness ratios, and other considerations before we moved into their gallery space to use their track light system for some demonstrations.

After the whole affair a faculty member, who sat in on most of the seminar, said he had hoped I would have spent much more time talking about how to use track lights and less time on unimportant issues like design, color temperature, and color rendering (!). I was respectful, but stunned. Focusing track lights is so complex that it requires extensive demonstrations? Understanding that with LEDs the color qualities of the light vary widely, and can only be properly selected when they are understood is unimportant information? Uhh…NO. Or, as my 20 month old niece says, “no no no no.”

Yes, five or ten years ago the default light source in museums was an incandescent or halogen lamp. The color temperature difference was minor and the color rendering of both was excellent. That’s not true today. Look at the cut sheet for any museum grade track light and you’ll see that you have a choice of several color temperatures and CRI values. If ANYONE needs to understand the qualities of light that must be selected when using LED fixtures, if anyone needs to understand the affect that color temperature and CRI have on how colors are perceived, it’s certainly people involved in displaying and lighting art. To me, that means the curators of exhibits and the lighting designers they hire.

As I’ve discussed earlier, changing the color temperature of the light changes the color appearance of objects, as shown below.

Illuminated with Warm White Fluorescent Lamp
Illuminated with 3000 K light
Illuminated with Cool White Fluorescent Lamp
Illuminated with 4000 K light

The phenomenon of color consistency means that the shift in color appearance isn’t as great as one might expect or as these photos suggest, but the shifts are real. If you’ve ever bought a black garment only to discover later that it was actually dark blue you’ve experienced this shift. A similar thing happens when we compare a high CRI light source and a low CRI light source. If your work involves color perception this is basic and critical information.

Curators can be forgiven for not knowing much about this, but if they know nothing how can they collaborate with their lighting designer to show the art as they intend? Administrators and curators of museums and galleries – educate yourselves, then hire a lighting designer!

Computers in the Classroom

Today’s New York Times tells us about the pernicious effect digital devices can have on our lives, saying that our “digital life keeps us hooked with an infinite entertainment stream as its default setting. Tech companies often set it up that way.” Referred to as growth hacking, it’s the continual testing and tweeking to better hook consumers and keep them coming back. It can be rewarding, although it can also become excessive or an obsession.

I see the result of this in my classroom almost every day with students who are online instead of in class.  I haven’t yet reached the point of prohibiting phones, pads, and laptops from my class, but I’m getting close. Since every classroom now has Wi-Fi it’s not initially clear if a student is taking notes or has mentally checked out of class. Eventually I can tell, though. Excessive typing, looking at the screen but not typing at all, and smiling or laughing at the wrong time are all giveaways that the student is physically present but mentally absent. The problem is that they don’t know that they’re absent, they think they can multi-task and not miss anything. Last semester I added the following to my syllabus, to no avail.

Numerous studies have shown two things about note taking on computers. First, multitasking (such as taking notes while being on social media or answering email) inevitably results in lower quality of notes and reduced information retention, as described here, here and here. Second, the screens of students who are multitasking are irresistible distractions to other students who can see the screen, as described here.

I’m not a Luddite or anti-technology (case-in-point: this blog) but students and educators need to find a way to stay focused on the course material. It’s great that my students can get online during class. If I go to a site as a demonstration or example, they can follow along and bookmark the site for later. However, when students don’t understand or acknowledge the ways in which they’re sabotaging their own education, something has to change. For my part, I’d love to be able to have control over the Wi-Fi network in my classroom so that the only sites my students can visit are those on my preapproved list. Does such a system or software exist?

Who Needs A Lighting Designer?

No I’m not begging for work (although I am available for weddings and bar mitzvahs). At the beginning of every semester I ask my interior design students (especially at Parsons, where the class is an elective) why understanding lighting design is important to them. They tell me that lighting design is important for setting the mood or atmosphere, that lighting affects the appearance of materials and finishes, and that light is an important element in the overall design of any space. Good job!

But, as we move through the semester they often say that there’s so much to know and ask if interior designers, architects, and electrical engineers really know all of it. If not, why do only 10% of construction projects have a lighting designer? Why isn’t a lighting designer assumed to be part of a design team just like an electrical or mechanical engineer?

So I did a little research. According to the DesignIntelligence ranking of the top five interior design programs, only three undergraduate and one graduate program require a semester long course in lighting design. It turns out that I’m in a fairly unique situation in that my undergrad interior design students at Pratt are required to learn about lighting design.

What about architects? According to Architectural Record’s ranking of the top ten undergraduate and graduate architecture schools, only one grad program, and zero undergrad programs, require a course in lighting design! So, at least in the U.S., we shouldn’t expect interior designers or architects to create more than utilitarian lighting because they’re not educated in the practice of lighting design.  Yes, many care quite capable of laying out a lighting plan that meets code requirements but we should remember that codes set minimum requirements for safety and energy efficiency. Codes have nothing to say about appropriateness for the application much less anything to do with aesthetics of the space or the interaction between light and materials.

So what do I tell my students? In the same way that there’s a difference between a decorator and an interior designer, there’s a difference between someone who can “do lighting” and a lighting designer. The differences are many, actually, and include academic education and training, continuing education, range and depth of experience, and a focus on the practice lighting design as a profession and a livelihood, not as an ancillary service. I tell them that it’s important for them to be able to speak the lighting designer’s language and to understand the interaction between light and materials because lighting can have such a strong effect on their work. I tell them that they may find themselves lighting some of their own projects and I hope my class prepares them for that. In the end I also tell them I’m sure they’ve learned that the best lighting designs are created by a professional lighting designer. If they want the best for their clients and their work, it’s worth the extra fee and worth talking to the client about what a lighting designer can do to support and enhance the project. Everyone needs a lighting designer, they just don’t know it.

Xicato Publishes IES TM-30-15 Results for its LED Modules

In a first (as far as I know) LED manufacturer Xicato has published TM-30 results for some of its modules alongside the CRI results for Ra and R9.  Menko de Roos, CEO of Xicato, says “At Xicato we are very supportive of TM-30-15 overall and recognize the need for an improved metric system along these two dimensions.”  You can read the full press release and find links to the results here.

I’m excited to see this greatly improved color rendering metric being used by a major manufacturer, and hope to see more manufacturers releasing TM-30 results soon.  If you still haven’t looked into TM-30 there is an increasing number of resources available to you.  TM-30 is available for purchase here. You can also view the recording of a webinar sponsored by the DOE and the IES and presented by two members of the IES Color Rendering Subcommittee, Michael Royer and Kevin Hauser.