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Lisa Bornemann, Lighting / Electrical

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Independence Visitor Center Dr. Moeck

Philadelphia, PA September 30, 2002

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Lighting Existing Conditions

and Design Criteria Report

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Table of Contents

1. Executive Summary

2. Lighting Exisiting Conditions and Design Criteria Report

Executive Summary

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Independence Visitor Center

Philadelphia, PA

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Executive Summary

The Independence Visitor Center is an award winning lighting design by the IALD. I have now had the chance to look more deeply into what actually exists in this design. A variety of source types as well s fixture types are used throughout the facility. Fluorescent, incandescent, and metal halide lamps are all used for different purposes. Daylighting is an integral part of the ambient light for the main hall. This is a large space that required special design of track lighting to integrate the electric lighting as well.

The architect, Mark DeShong, was helpful with information regarding the appearances of the space and the materials used. He was most helpful with the material and color of the material, not with specific brand names. Therefore, the reflectance values listed in this report are assumed based on color and finish. Enclosed in this report are existing furniture plans that will be helpful for the redesign.

After analyzing the ticket counter, theater, and main hall I came to certain conclusions. The power densities at the ticket counter and especially the main hall did not meet the ASHRAE/IESNA standard 90.1. In my new design, one aspect I will be concentrating on is lowering the power density to half of the required values by standard 90.1. The theater utilizes only incandescent lighting, but fluorescent lighting will reduce that power density greatly. The appearances of the spaces were all aesthetically pleasing, with the exception of a few lamps that may be too close to certain walls forming unwanted hotspots and scalloping patterns. The IES handbook criteria for illuminance levels were all met and some were exceeded. This leaves more room for lowering wattage or removing fixtures to lower the power density.

Basic calculations were run for the spaces without much detail, so there is room for some error to have occurred. All calculations were run on Lightscape: the files can be found on my P-drive at P:\Thesis\3Dmodels\theater and at P:\Thesis\3Dmodels\ticketcounter. My user ID is lmb237. The daylighting calculations were not yet run and will be performed at a later date. This is an overall good design, but there is always room for changes.

Lighting Existing Conditions and Design Criteria Report

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Independence Visitor Center

Philadelphia, PA

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Ticket Counter

Existing Lighting Systems

The existing lighting systems at the ticket counter area are all fluorescent. There is a combination of downlights, wallwashers, and strip lighting in coves. The space has a counter that wraps around three sides. Above the front counter, there are recessed compact fluorescent downlights. This is a ticket counter and information desk that visitors will approach and speak with tellers behind the desk. There are computers at each of the eleven chairs for visitor center employees to use. Behind the front counter is a wall which has a visitor center sign hanging on it. Wall washers are used to light this wall and the desk and shelving up against the wall. On both sides, fluorescent cove lighting is used where a total of six more visitor center employees use computers and answer questions. All controls are three-way switches; there is no dimming in this area. Refer to Table 1.1 on the following page for exact lamps and descriptions of the specific fixtures currently in use. Refer to Plan 1 to see a plan, furniture layout, and RCP of the space.

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Figure 1.1: Rendering of existing ticket counter

At the ticket counter, the floor has a terrazzo base with a very dark gray matte rubber on top. The walls are gypsum wall board painted an off-white color called Larson’s Cream. This is a polymix which has a mix of colors leaving a marbleizing effect, but appearing to be almost off-white. The ceiling is acoustic ceiling tile. The desk is a light maple wood desk with a dark gray, matte, corian synthetic counter top. Against the back wall, there is another desk and drawers in the same light maple wood material. Also, on the back wall is a sign hung in the center giving the name of the visitor center. Refer to Table 1.2 below for a summary of finishes and reflectance values.

|Finishes |Reflectance |

|Floor |Walls |Ceiling |Floor |Walls |Ceiling |

Table 1.2: Ticket counter finishes and material reflectances

Design Criteria

There are a variety of visual tasks that take place at the ticket counter. The workers use computers and read both printed paper and glossy magazines. Facial rendering is important so the workers look approachable since they are there to answer questions and provide information for visitors.

Design Goals:

• To create a pleasing, distinctive environment

• To use facial modeling to make the workers approachable

• To highlight the back wall to draw peoples attention

• To provide a power density that is less than half of the recommended value from ASHRAE/IESNA Standard 90.1

VDT screen usage:

• Vertical illuminance: 3fc

• Horizontal illuminance: 3fc

• Direct glare is a very important concern

• Reflected glare is a very important concern

• Source/task/eye geometry

• Uniformity on ceiling: 8:1 luminance ratio acceptable for light background screen

4:1 luminance ratio for dark background screens

2:1 luminance ratio is most desirable

• Luminance Ratios: 3:1 or 1:3 between task and adjacent VDT screen

10:1 or 1:10 between task and nonadjacent surfaces

• Maximum ceiling luminance not exceed 850 cd/m2, but less than 425 cd/m2 is best

Reading written or printed tasks:

• Horizontal illuminance: 30fc

• Reflected glare is important on glossy tasks

• Shadows should be avoided

Power Density Requirements:

• ASHRAE / IESNA Standard 90.1-1999: meeting, multipurpose = 1.5 W/ft2

• Existing conditions is space :

Area = 500 ft2

Wattage: 26fixtures x 32 W/fixture = 832 W

52 l.f. x 16 W/l.f. = 832 W

Total Wattage = 1664 W

Power Density = 1664W / 500 ft2 = 3.33 W/ft2

Light Loss Factors:

• LLD = 0.95

• LDD = 0.9 (assumed clean, maintenance 12 months, maintenance category IV)

• RSDD = 0.9

• Ballast factor = 1.0 ( integral ballast)

• Total LLF = 0.77

The ticket counter is a point of interest in the Independence Visitor Center. There is a large sign on the back of the wall displaying the name of the visitor center and the different counties’ visitor centers it has combined. The wall should be washed with light in order to draw peoples’ attention to the space so they will go there to get information. This sign, as well as the wall it is hanging on, should be a brighter area. The overall space should have an illuminance level of about 50 fc. This is higher than the recommended value, but I believe it is important to have this space stand out. The vertical illuminance should be about 3 fc minimum for VDT screen usage. It is important to maintain a uniform ceiling luminance in order to minimize reflected glare on the VDT screens and glossy reading materials as well as to keep the space aesthetically pleasing. Luminance ratios should be taken into account between the VDT screen and its surroundings, and the location of the lighting fixtures should be considered to minimize direct or reflected glare and to avoid unnecessary shadows. Facial rendering is important in this space. Warmer lamps should be used so the workers and visitors look alive and healthy. Avoid the use of direct downlights alone and incorporate other lighting into the space since multidirectional lighting improves facial modeling. It will create some necessary shadowing on the face, which is not as harsh as downlights alone.

Existing Conditions Analysis

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Figure 1.2: Illuminance calculations for the ticket counter performed in Lightscape

The following data was calculated using Lightscape (Refer to Figure 1.2):

Illuminance:

• Horizontal workplane – counter: uniform about 45-55 fc

• Horizontal on floor – uniform about 40 fc

• Vertical along back wall – between 275-400 fc – not as uniform as desired

• Coves on side walls – high illuminance directly next to wall

(Not IES file for exact fixture used, only similar)

• Counters on side walls – 55 fc

Luminance

• Horizontal workplane - Uniform, about 50-60 cd/m2

• Floor - Uniform, 50 cd/m2

• Ceiling – Uniform 25 cd/m2

Existing Conditions Critique

The illuminance levels met the desired IES criteria. They could be a little lower on the counters on the side walls, possibly using a 1-lamp fixture instead of a 2-lamp fixture. For the most part, there is a uniform wash over the counter and floor. The wall behind the counter is not as uniform as desired, this may be due to slight misplacement of fixtures for the calculation, or it may not be the exact IES file of the actual fixture used, just a similar one. The power density requirements from ASHRAE/IESNA standard 90.1 are not met. By trying 1-lamp fixtures instead of 2-lamp fixtures for the recessed linear fluorescents, will reduce the wattage and power density. This calculation does not take into consideration ambient light that comes from the main hall. Since three sides of this space have direct openings to the main hall, the illuminance levels will raise and this other direction of light will help with facial rendering.

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Independence Visitor Center

Philadelphia, PA

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Theater #1

Existing Lighting Systems

The existing lighting systems in the theater are all incandescent. This yields a very high power density. There is a combination of downlights, wallwashers, and adjustable accent lights used throughout the space. All of the fixtures use 100W A19 lamps to keep everything consistent. Wallwashers line both side walls, while downlights are spread out above the seating areas. The adjustable accent lights are used for lighting the speaker at the podium in the front of the room. Refer to Table 2.1 on the following page for exact lamps and descriptions of the specific fixtures currently in use.

All theater lighting is controlled using the Lutron GRX 4106T-WH which is a master preset control station with integral dimmers. It consists of a (6) zone, (4) scene preset system with a wall mounted white plastic cover. The remote control station with (4) scene plus off selector has the four scenes programmed as ‘Lecture’, ‘Presentation’, ‘Special Event’, and ‘Clean-up’. The entry control station, which is located adjacent to the doors, is the station for selecting ‘Lecture’ and ‘Off’. There is also an AV Interface located in the electrical closet that allows the audio visual system to signal the lighting control system via RS-232 protocol. This system utilizes six individually dimmable zones. All panels are wall mounted front access dimmer panels. The two adjustable accent lights can be controlled separately to light the speaker at the podium as desired. All of the wallwashers are controlled by the same zone so the walls will always be evenly lit. This zone has four emergency lights on it as well. The general downlights are broken into three zones: front by the screen, middle of the room, which also contains two emergency lights, and back of the room. This allows the possibility of having lights on in the back while still showing a film on the screen in the front. See Table2.2 and Plan 3 for further control information.

The floor in the theater is a very dark gray rubber. The wall are acoustical panels in a dark quill color. The ceiling is a combination of acoustical panels and drywall painted a matte off-white. There is no artwork or anything else hanging on any of the walls. The seating is all light wood benches with a matte finish. They were chosen be long term and durable and to allow families to sit closely together instead of being separated by seats and different rows. The Table 2.1 below sums up the finishes and states the reflectance’s of the materials.

|Finishes |Reflectance |

|Floor |Walls |Ceiling |Floor |Walls |Ceiling |

Table 2.1: Theater finishes and material reflectances

|Zone # |Control Zone |Fixture Type |Quantity |Wattage |Total Load |Dimmer Type |

|A2 |General Downlights |FA |9 |100 |900 |Incandescent |

|A3 |General Downlights |FA |3 |100 |300 |Incandescent |

|A4 |Adjustable Accent Lights |FC |1 |100 |100 |Incandescent |

|A5 |Adjustable Accent Lights |FC |1 |100 |100 |Incandescent |

|A6 |Wall Washers |FB |23 |100 |2300 |Incandescent |

Table 2.2: Theater control zones

Design Criteria

This theater has a podium in the front of the room and a projection screen for videos to be shown on. The visual tasks in this space include reading programs before a video and during intermission, facial rendering for the audience and speaker at the podium, walking in and out during a video, and seeing the projection screen.

Design Goals:

• To create a pleasing, distinctive environment

• To retain brightness and color contrasts inherent in the motion picture

• To create adequate visibility for safe circulation

• To provide comfortable viewing conditions

• To provide a power density that is less than half of the recommended value from ASHRAE/IESNA Standard 90.1

IES Illuminance Levels:

• During intermission: 5 fc minimum

• During picture: 0.1-0.2 fc

• Reading during intermission: 30 fc

•

Power Density Requirements:

• ASHRAE / IESNA Standard 90.1-1999: Audience, seating area = 0.5 – 3.2 W/ft2

• Existing conditions is space :

Area = 1400 ft2

Wattage = 43 fixtures x 100 W/fixture = 4300 W

Power Density = 4300W / 1400 ft2 = 3.07 W/ft2

Light Loss Factors:

• LLD = 0.95

• LDD = 0.9 (assumed clean, maintenance 12 months, maintenance category IV)

• RSDD = 0.9

• Total LLF = 0.77

The theater has two main events that could occur in the space: a video can be played in which all lights will be off or a speaker can be at the podium giving a lecture in which the lighting is very important. The required illuminance levels are stated above. During the picture the 0.1 – 0.2 footcandles is usually obtained by the light from the screen. The screen luminance runs between 3-20 cd/m2 depending on the colors on the screen at any given time. Aisle luminaries should have a low brightness and should be spaced to give a uniform illuminance of 10:1 in the aisle. The house lights should all be controlled by dimmers. For proper facial modeling, warmer lamps should be used audience and speakers look alive and healthy. Avoid the use of direct downlights alone, and incorporate other lighting into the space since multidirectional lighting improves facial modeling. It will create some necessary shadowing on the face that are not as harsh as the shadows downlights alone will produce.

Existing Conditions Critique

The lighting in the entire theater is all incandescent which leads to a very high power density that is near the high end of allowable power density range. If this space could be converted into using all fluorescent lighting, the power density could be cut in half. The dimming system in the theater leaves many options for lighting levels for the variety of needs that could come about. Even the AV system is connected into the dimmer controls so a show can start and the lights will automatically be dimmed.

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Figure 2.1: Illuminance calculations for the theater performed in Lightscape

Above, Figure 2.1, is a rendering calculating the illuminance using Lightscape for the theater. This was a basic calculation done without the furniture just to check the uniformity and illuminance levels. Since the levels seen are on the floor, the workplane will have a slightly higher illuminance. The illuminance distribution is relatively uniform with only about a 10 fc difference on the floor in the seating area. The aisles are located along the side walls and they are about 40 fc. This light also reflects into the seating area making the seats near the aisles also have an illuminance of about 40 fc while the illuminance on the inner seats is about 30-35 fc. The vertical illuminance on the side walls, which have wallwashers lining them, is about 20 fc. A line is visible where the light from the wallwashers begins to hit the wall. This line could be reduced by changing the location of the luminaries or by finding a fixture with a larger cutoff angle so more of the wall will be covered. The downlights in the back row seem to be too close to the back wall and they are forming unwanted patterns on the wall. They are only 2’-2” away from the wall, which is too close for a downlight. Hot spots can be seen so they should be moved farther away. The luminance levels are uniform. The aisles have a luminance of 40 cd/m2 and the center seats have a luminance of 25 cd/m2. The lighting levels meet the requirements stated above. In addition, the lights are all on dimmers and can be controlled in separate zones to achieve the desired conditions for different situations.

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Independence Visitor Center

Philadelphia, PA

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Main Hall

Existing Lighting Systems

The front entrance to the visitor center leads directly into the main hall, therefore making it very important to make this an inviting space. It is a two-story open space that has a hip roof with exposed trusses and skylights in the central area of the building. There are also large windows along the west wall that allow light to fall into the open space. The lighting in this space is a combination of metal halide track lighting and uplighting. There are slots for the surface mounted single circuit track about 6 feet from the top of the side walls running down the entire length of the building alternating 4 foot slot with 4 foot wall. The other track is strap mounted to round structural members that cris-cross down the entire length of the building. The uplights are mounted to the structural beams and the centers of the round structural members to uplight the sloped hip roof. Refer to the table on the following page for exact lamps and descriptions of the specific fixtures currently in use.

Throughout this main hall, there are exhibits, information boards, and entryways to other exhibits, theaters, and the like. It is the most heavily used area. The floors are finished in a gray-green terrazzo. The walls are all gypsum wall board painted with an off-white color called Larson’s Cream. This is a polymix which has multiple colors in it that has a marbleizing effect yet still appears to be off-white. It was chosen because it is easy to maintain. The ceiling is perforated metal deck with acoustical panels, all painted a matte white. Branching from the center of the building, there is a portion of the ceiling that has skylights. Refer to the table below for material reflectance’s and a summary of finishes.

The skylights are sloped low-emissitivity / dot screen coat insulating glass units. They are standard insulating units with an interior pane of laminated sloped glass and exterior pane of Kind FT (fully tempered) clear float glass having a Low-E coating on the second surface. The exterior pane is clear tempered glass, coated on the second surface with a Low-E coating having 70% transmittance and a 0.45 shading coefficient. The interior pane is clear tempered, laminated glass coated on the second surface with a white ceramic frit dot screen. The total performance of the system consists of a transmittance of 50% and a 0.38 shading coefficient.

|Finishes |Reflectance |

|Floor |Walls |Ceiling |Floor |Walls |Ceiling |

Table 3.1: Main hall finishes and material reflectances

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Figure 3.1: Photo of existing main hall

Design Criteria

The visual tasks that will take place in this space are reading flat displays on vertical surfaces, circulation, and facial rendering.

Design Goals:

• To create a pleasing, inviting environment

• To lead visitors through the space and providing points of interest

• To incorporate daylighting as much as possible

• To provide a power density that is less than half of the recommended value from ASHRAE/IESNA Standard 90.1

IES Criteria:

Reading flat displays on vertical surfaces

• Vertical Illuminance: 30 fc

• Uniformity on the workplane

• Reflected glare must be taken into account, especially if the surfaces are not matte

• Source/Eye/Task geometry is important so shadows are not produced while a visitor is reading the display and to prevent reflected glare.

• The CRI of the source should be high to fully bring out the vivid colors of the display and to create the impact desired.

Lobbies, general gallery areas, corridors:

• Appearance of space is extremely important

• Points of interest need to be brought out and attract the visitors’ attention

• Horizontal illuminance: 10 fc minimum

• Vertical Illuminance: 3 fc minimum

• Facial modeling

Power Density Requirements:

• ASHRAE / IESNA Standard 90.1-1999: Corridor, Transition = 0.5-1.6 W/ft2

• Existing conditions is space :

Area (for one section) = 282 ft2

Wattage: 4fixtures x 175 W/fixture = 700 W

10fixtures x 70 W/fixture = 700 W

Total Wattage = 1400 W

Power Density = 1400W / 282 ft2 = 4.96W/ft2

Since the main hall is the first space visitors enter when they walk in the door, and since it is the main passageway to get to any other space in the facility, the lighting should create an inviting and pleasant atmosphere. Daylighting will help with accomplishing this task. Daylighting is currently being effective through skylights in the central area and large windows along the west wall. Since the hours of operation of the visitor center are between 8:30 a.m. to 5:00 p.m., daylight is an integral part of the lighting scheme for most of the day. From the IES criteria above, there should be a minimum illuminance of 10 footcandles on the horizontal workplane and a 30 footcandles on the vertical workplane since there are many vertical displays with information to be read. Uniformity is important on the vertical workplane so the displays can be easily read; however, the rest of the space does not require uniform lighting. In fact it requires nonuniformity in order to highlight points of interest. Color rendering is important for both bringing out the true colors of the displays and to make people look alive and healthy; therefore, the lamps chosen should have a CRI in the 80’s or better. Facial rendering is important throughout this entire space. Multidirectional lighting improves facial modeling, since there are a variety of sources throughout the space from a variety of locations, facial rendering should appear fine. Metal halide fixtures are incorporated into the space to provide uplight to light the hip roof. Track lighting is used for both ambient lighting in certain areas and as accent lighting that aims at certain points of interest. The track lighting in this space is not listed in the plans in certain locations. Therefore, I did not do actual calculations to determine its effect. The ambient light comes from a combination of the daylight, track fixtures, a well lit white ceiling, and the white walls.

Existing Conditions Critique

When entering into the main hall, it feels like a very big and open space. With the combination of the two story tall space and the hip roof it is a very tall space. The uplights mounted to the exposed truss light the ceiling making it appear even taller. However, it is very noticeable that the uplights leave both bright and dark areas on the ceiling. The ceiling is an area that should be uniformly lit, yet it is not in this case. The track fixtures mounted to the 6” diameter pipes between the trusses are located in scattered positions throughout the space depending on what needs to be lit. I believe these are mainly used for accent lighting due to the randomness in which they are mounted. The calculated power density is extremely high. I guessed on the amount of fixtures in each area, so that could be part of the reason. Each fixture has a very high wattage, this could be reduced using fluorescent lighting instead. Daylight plays a major role in this space through both the skylights and large, two-story windows. This helps make the space a place people want to be.

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Independence Visitor Center

Philadelphia, PA

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Exterior Landscaping

Existing Lighting Systems

The exterior on the west side of the Independence Visitor Center is a large landscaped park with walkways that lead visitors through the second block of Independence Mall. The lighting designer for the park was Howard Brandston. There are light poles located along a curved path through the park that extend along the perimeter wall on 5th street where they serve as pedestrian lights for the sidewalk as well as for the park. The fixtures were originally specified by Bega, but were “value-engineered” down to a similar Se’lux. An uninterrupted view of the Independence Visitor Center was desired from the lawn; therefore, the west side of the park is lit by lights built into the arbor attached to the building so there would be no lightpoles in the way of the view. The perimeter lighting around the lawn came from the idea that by lighting both sides of the lawn, anyone in the center would be visible in outline. Below is a picture of the fixture used.

Figure 4.1: Se’lux Fixture

Design Criteria

Design Goals:

• To create an attractive nighttime environment

• To provide a safe area for pedestrians at night

• To limit light pollution

Whenever lighting an exterior space, light pollution must be taken into account. Being in the middle of Philadelphia, there already is a glow to the sky at night; however, this should still be an issue. One method for controlling light pollution is to choose luminaries that limit the flux above the horizontal plane. This affects the choice of light poles and bollards that should be chosen for the park. Another method is to minimize non-target illumination. Do not just point fixtures at nothing. For example, when uplighting trees or other landscaping, make sure that the light actually hits the target tree and not the empty space around it.

Different effects are created using different lighting techniques. The site plan shows a variety of uses of canopy trees, understory trees, shrubbery, and flowers. Each of these types can be lit using varying methods and lamp colors to highlight the details. Some methods are uplighting, frontlighting to create shapes, colors and emphasize texture, backlighting gives a silhouette appearance showing only forms, and sidelighting which emphasizes plant textures and creates shadows. One or a combination of these methods can be used to create the desired outcome. Luminance ratios should range from 3:1 to 5:1 between the focal point and its surroundings depending on how much it should stand out. Typically either metal halide or mercury vapor lamps are used for lighting landscaping. They both have a larger spectral distribution on the cooler side, and mercury vapor has a green tint. Other sources may also be used especially for lighting plants that are colored or in order to create different effects. There are many options to lighting a landscape, and brilliant affects can be created using each method.

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