Custom adjustable picture lights by Phoenix Day Company subtly offer additional illumination for the paintings by Marianne Kolb. The box beams visually float down from the ceiling to allow indirect light for the room

As more people select high-rise living in cities across the country, they are facing the tremendous challenge of how to get lighting where they want it, when the construction is primarily concrete. Often they are given a few junction boxes from which to draw power for their lighting needs. Sometimes they don’t even have that.

For example, the dining room in this luxurious 52nd story condominium at the Millennium Tower in San Francisco had little for the lighting designer, Randall Whitehead and interior designer, Michael Merrill to work with. Even though they had ten foot ceilings there wasn’t even a junction box in the ceiling for a power source.

The two designers worked together to come up with a solution that provided both ambient light and accent light for the space. They decided on the concept of fabricating of a series of box beams. The only power source they had to work with was a power feed for motor controlled blinds located in the upper corner of one wall near the ceiling line. A soffit was created along the wall to allow power to be run seamlessly from one beam to the next. The new soffit also helped balance the boxed-in HVAC ducting on the opposite wall.

Two stone figures from the Philippines draw focus towards the view of downtown San Francisco. The richly colored wall help minimize the reflections in the glass. White walls would have obstructed the view.

The beams are open at the top and float down from the ceiling six inches. This space allows two parallel runs of LED strip lighting by Edge Lighting to bounce illumination off the ceiling. This adds a layer of gentle fill light for the space, softening the shadows in the room and gently drawing visual attention to the high ceiling. Normal beams, installed flush to the ceiling, would have made the ceiling feel lower.

These beams also house recessed adjustable low voltage fixtures made by Lucifer Lighting that provide focus for the art, art objects and the table settings. These luminaires are using dimmable LED MR16 lamps, available through Focus Industries. The warm color temperature of both of these sources gives the feel of incandescent light from an energy efficient, low maintenance source.

The two paintings by Marianne Kolb were further enhanced with a pair of custom picture lights fabricated by Phoenix Day Company. The electrical contractor, Schulkamp Electric, used a radio controlled dimming system by Lutron to dim the lighting. Whitehead notes the lighting strategies that help complete the look of the room: ” Silver Candelabras by George Jensen from the 1930’s and a table lamp create the illusion of providing the room’s illumination. Recesses adjustable fixtures help to highlight the table setting and console.”

The end result is both architectural and subtly alluring. Guests are drawn into the room by the juxtaposition of the modern art and antiques. The illusion is that that the candles are creating the ambience, while in fact it is the well integrated lighting that paints the room with lush illumination.

by Randall Whitehead, IALD, Contributing Editor

Credits:

Lighting Design: Randall Whitehead IALD, Randall Whitehead Lighting Inc

Interior Design: Michael Merrill ASID, Michael Merrill Design Studio

General Contractor: Muratore Corporation

Electrical Contractor: Schulkamp Electric

Exterior: Traditional homes reap benefits from energy conscious. Here, exterior lanterns use two 8 watt CCFL by Litetronics, providing 45 watts of light, lasting 25,000 hrs. Resembling standard household bulbs, they dim with a standard incandescent dimmer.

Our California-based lighting expert explains a remodeling project in dramatic before/after images that is both earth friendly and cost effective

People are constantly being hit over the head with green design. In these hard economic times homeowners are not moving into the next bigger house but are instead staying put and investing their hard-earned…if somewhat deflated…equity into upgrading their present residences. Energy efficient lighting plays a big role, especially here in California where Title 24 requires the use of high efficacy lighting in kitchens, bathrooms and outdoor areas.

Design magazines looking to remain current offer up contemporary architectural layouts and stark, eye-catching interiors. While it’s true that futuristic design and green design seem to go hand-in-hand, it’s not for everyone. How does the owner of a more traditionally styled house make use of today’s earth friendly lighting and interior design techniques? Can progressive lighting design be applied to non-cutting edge spaces to enhance the sense of warmth and comfort that these cozy interiors inspire? Absolutely!

Breakfast Nook: Pendant fixture and sconce use dimmable CFL’s in a flame tip shape by Litetronics. Five watt bulbs provide 30 watts of illumination.

My technique for those clients with a fear of fluorescents is to use what I call stealth energy efficient lighting design. I hide compact fluorescent lamps (CFL), cold cathode fluorescent lamps (CCFL) and light emitting diodes (LED) within traditionally styled fixtures and behind architectural details. If they can’t see a bulb that looks like a softy ice cream then they won’t instantly hate it!

 Many of today’s fluorescents can be dimmed, do not hum or flicker and have a wonderful warm color. The key here is that the best bulbs on the market do not come from the dollar rack at the big box stores. Lighting-wise, I like to think of the decorative fixtures as the architectural jewelry for a home. This allows the chandeliers and table lamps to give the illusion of providing a room’s illumination.

For this modest two-story home I was lucky enough to work with interior designer, Nancy Satterberg. who believes that the trick in a remodeling project is to keep the upgrades subtle so that wall colors, floor finishes and well integrated lighting enhance the existing architecture.

Living room: A pair of alabaster pendants provides decorative and ambient light. Each uses four dimmable CFL’s by Maxlite, with 400 watts/fixture, but consuming only 24 watts worth of power. Track lighting at apex of beam fitted with LED MR16’s bulbs by Philips/color Kinetics-- accent light without harmful UV.

There was nothing more satisfying to the owners than to team up with a collaborative interior designer, lighting designer and contractor (in this case, Forde Mazzola Inc), to update and transform the overall feel of their home without loosing the charm of the existing architecture.

While some homeowners may want their homes restored to their previous splendor, these owners decided to go a different way– creating a feeling of smooth traditionalism with unexpected warmth using innovative lighting. They also relied on Satterberg’s skilled hand to mix contemporary furniture and Asian antiques. The use of much of the owner’s furniture, as well as their treasured artwork and objects, collected from around the world, brings an element of personalized grace to this beautiful home. This was also a big help for a modest design budget. The 9 month-long project updated the look to what Satterberg calls “new millennium traditional”, meaning that the hard-edged look of the home’s 1950′s architecture was now softened with warm wood molding, saturated colors and the contrasting finishes available today.

Dining room: Alabaster pendant by JH Lighting was converted to a hard-wire fluorescent using locking sockets plus GU24 bulbs by Maxlite. Reduced heat output of CFL’s prevents alabaster from discoloring.

The lighting was designed for versatility in all areas, without overpowering the traditional look and feel of the space. We went beyond the requirements of Title 24 and applied energy efficient lighting to all the rooms. The result is dramatic, inviting and warm, while saving on power consumption.

 For example, the flat ceiling of the master bedroom was replaced with a deep coffered detail offering greater height to the room, along with the restful glow of illumination from both indirect LED lighting and decorative CFL pendants. This dramatic yet cost sensitive change blends beautifully with the existing architecture. The whole design stayed within the confines of the existing unused attic space.

Kitchen: Fluorescent pucklights by Tresco provide both task lighting for counter tops and ambient light above cabinets. Warm color blends seamlessly with the incandescents used in other parts of house.

The experience of “juxtaposition” is a prevalent theme throughout. Here, in this project, the use of richer colors and finishes is dramatically different than what is typically used in homes of this period. In the kitchen for example, the existing warm-toned granite countertops are complimented by freshly-painted existing cabinetry, with updated hardware. The kitchen is lit with a combination of 100% fluorescent and LED lighting.

Satterberg took care to choose natural cotton and wool blend upholstery fabrics for their durability, to stand up to constant use by children and pets. The varied textures are complimented by the lighting, both day and night, as well as season to season. The interior designer’s selection of Asian-inspired textiles enriches the owner’s collection of rugs. Satterberg’s decision to refinish, instead of replacing the existing floors, helps unify all the rooms and adds a rich textural quality, while saving a few trees as well!

Bedroom: Raising the flat ceiling added architectural interest to master bedroom. Pendants by Christina Spann have separate LED dimmable CFL’s. The perimeter cove LED lighting is by Dreamscape Lighting

She believes that, when art is introduced in a room, the scheme for the furniture and walls should be stylishly neutral, so not to detract from the more important focus on the art and accessories. My job as the lighting designer was to make sure that the owners and their guests felt welcomed and not overpowered by the other elements. Good lighting draws more attention to what it is being illuminating, rather than focusing attention to the lighting fixtures, themselves. What helps pull all the design elements together at night is a well integrated interior lighting plan and a Dark-Sky-compliant exterior lighting plan.

There are three elements within each space that need lighting: art, architecture and people. Think about lighting the people first – you must humanize the light. A layer of ambient light softens the shadows on people’s faces, as well as softening the otherwise hard edges of the architecture. The addition of accent light can add drama, but should remain subliminal, only attracting attention to objects, artifacts and artwork or other dramatic design details in the room.

Bath & Vanity: Wet location-rated recessed LED fixtures by Progress Lighting illuminate tub. These LED’s rated for 50,000 hours and are dimmable; CFL’s may burn out prematurely when enclosed, as in these sconces by Metro Lighting, but Maxlite makes CFL specified for enclosed fixtures.

The well-integrated layering of decorative, task and accent lighting within each space created a unified and inviting design. For this project, an additional, inviting layer of ambient light created just the right balance. In the living room, indirect dimmable LED lighting is mounted on top of the beams to help bring the gabled ceiling details to life.

There was also an extensive use of adjustable low-voltage LED lighting on this project, to accentuate the artwork throughout. CFL sconces and hidden, linear indirect LED and fluorescent sources were implemented for general illumination. The window coverings were minimized to allow a generous amount of natural light into all areas, while also allowing the subtle, shielded exterior landscape lighting to draw guests outside at night.

 Effective lighting is an integral design element and needs to be planned along with all the other design components at the beginning. Well-done lighting design has to accommodate all the practical and aesthetic needs of the homeowners. Exciting new technological advances in luminaires (light fixtures), lamp sources (bulbs), and controls can make lighting versatile enough to meet any need. In other words, effective lighting is critical to creating the desired in any home, especially at night.

Ultimately though, I see the role of the interior designer as primary. Without an experienced and inventive interior designer there may be little worth lighting. The result of a collaboration between interior designer, lighting designer and contractor is a home, which, when combined with the latest in lighting technology, creates a unique and dramatic kind of understated glamour.

by Randall Whitehead, Conributing Editor

Credits:

Photographer- Dennis Anderson

Interior Designer- Nancy Satterberg, Satterberg Desonier Dumo

Contractor-Forde Mazzola Inc.

Lighting Designer- Randall Whitehead, Randall Whitehead Lighting Inc.

Randall Whitehead is a nationally known lighting designer and author. He has written seven books on lighting, the latest being Residential Lighting- A Practical Guide to Beautiful and Sustainable Design (John Wiley and Sons). For more tips on lighting visit him online at http://www.randallwhitehead.com

He has also has published his first book of photography called, Lost Dolls- The Hidden Lives of Toys. See images from the book and watch a two-minute video at http://www.rwfoundimages.com.

To learn more about Title 24 lighting requirements, go to: www.energy.ca.gov/title24

To learn more about Dark Sky Compliance, go to: www.darksky.org

Lighting Resources noted in captions:

Exterior and Breakfast Nook: www.litetronics.com

Living Room: www.maxlite.com; www.colorkinetics.com

Dining Room: www.jhlighting.com

Kitchen: www.trescointernational.com

Bath: www.progresslighting.com: www.metrolighting.com

Master Bedroom: www.lightspan.com; www.dreamscapelighting.com

3-story rear view is unexpected, given low-profile entrance (above). One of the great challenges of this project was building a home on an extremely sloped site. Contractor Mark Sweet did an excellent job of making these plans a reality.

A glass bridge takes people from the garage to the main house. This space is used as a gallery and features an LED installation of ever changing light.

Conrad Sanchez’s bold, progressive architectural style blends seamlessly into the landscape for a look that is both subtle and sculptural. His use of sustainable materials shows that a home can be environmentally sensitive, while being visually welcoming and architecturally timeless, as well. Builder, Mark Sweet’s drawings and specifications were then translated into a solid, livable space situated on a challenging, steeply sloped lot

Conrad Sanchez’s bold, progressive architectural style blends seamlessly into the landscape for a look that is both subtle and sculptural. His use of sustainable materials shows that a home can be environmentally sensitive, while being visually welcoming and architecturally timeless, as well. Builder, Mark Sweet’s drawings and specifications were then translated into a solid, livable space situated on a challenging, steeply sloped lot

One of the great challenges of this project was building a home on an extremely sloped site. Contractor Mark Sweet did an excellent job of making these plans a reality.

Lighting specialist, Randall Whitehead teamed up with the team and owners to design a lighting system that was both dramatic when desired and functional for day-to-day living. Taking advantage of the latest products, this is the first house in the country to use Lucifer Lighting’s square recessed adjustable low voltage fixture. The shape really plays off the cubist feel of the architecture. These fixtures were specified with an electronic transformer to eliminate any of the characteristic hum that might be magnified from the hard surfaces incorporated into the project if a standard magnetic transformer was used. The Lucifer housings are also airtight and rated for insulated ceilings to meet California’s strict energy codes.

The first impression of the home from the entry is that of a of a wide one story structure. In reality, the house is built into the side of a steep hill and extends three stories. Mark Sweet took on the challenge of this unique lot and helped create a home that appears to float off the landscape at times.

Square aperture recessed adjustable trims by Lucifer Lighting highlight the horse sculpture by Deborah Butterfield and the large wall installation by David Maxim.

From the front door, made of translucent vermillion red glass, guests walk across a glass enclosed bridge to the main part of the house. On one side of the bridge are a series of paintings Deborah Oropallo while on the other side guests can look out at the natural vegetation. In the center of the bridge’s ceiling plane is a custom LED light installation designed by Randall Whitehead and fabricated by Mar Sweet. An ever changing colored light show is hidden within a custom metal trough which fills a forty foot long reveal in the ceiling. This can be set to a single band of saturated light or a dazzling array of moving color.

Four flotation pendants by Ingo Maurer help define the living room space in the architectural open plan of the house.

Once across the bridge, guests enter an enormous gallery space where two large scale pieces of art by David Maxim are hung. In the center stands a Deborah Butterfield horse which appears to greet arriving guests. In fact, the house was designed around these two impressive collages. This gallery space became the axis for how the rest of the house would be laid out. On either side of the main partition, Whitehead created with Mark Sweet, a vertical slot with a hidden light source. This little detail adds an intriguing slice of glowing energy while helping take away some of the visual weight of the structural element.

To the left of the gallery, people are invited into the living room and open kitchen area. Floor to ceiling windows look out onto planted fields and the Stanislaus River beyond. Interior designer, Nicki West, created a seating arrangement using furniture that has clean lines, luxurious fabrics and in a scale that works beautifully for these grand rooms. She also picked the finish materials that help visually warm up these enormous rooms. Whitehead selected four “Flotation” pendants by Ingo Maurer to create a more human scale to the space and lend a sculptural element that compliments the owners’ collection.

This large art piece by David Maxim is given added dimension through the use of 3 Lucifer fixtures set at an acute angle.

If visitors go to the right of the gallery, they enter into an open space that includes the dining room and the family room. Sanchez designed a large curved wall, projecting out from the structure that feels like a monolithic work of art, offering some privacy for both the owners and their neighbors. West’s selection of furniture pieces play off the undulating feel of the wall. Here an Ingo Maurer “Oh Mei Ma” pendant fixture appears to float in the space. A vent-less fireplace, using ethanol as a source of fuel, provides both focus and warmth f

Translucent shades turn the shadows of the live oaks into a chiaroscuro painting while a free form pendant fixture helps draw you into the space.

or the family room.

The spacious master closet appears playful with the installation of Ingo Maurer pendants and sconces that appear to be winged light bulbs. The architect’s design concept included four niches featuring both two and three-dimensional works of art from the owners’ extensive collection. West designed a five-foot diameter round leather ottoman as part of the look for the overall space that is both dramatic and surprisingly functional.

Above the main floor of the house is a roof top retreat that has a whirl pool tub, a gas fire pit, and a spacious area for seating or reclining. Here the owners’ and their guests can enjoy the setting sun as the sky turns from day to night.

This project was truly the team approach to design where ideas flowed freely between all those involved. The spectacular result says it all.

by Randall Whitehead, Contributing Editor

______________________________________________________________________

Visit the innovative web site of international lighting company Ingo Maurer at:

www.ingo-maurer.com

Find low voltage and fiber lighting like that pictured in this story at: www.luciferlighting.com

See the varied works of artists, Deborah Oropallo at www.wirtsgallery.com; David Maxim at http://www.queer-art.org and Deborah Butterfield at: www.gallerypauleanglim.com

Contact the California Design/Build Team:

Building Contractor- Mark Sweet 209-544-0840 m.sweet@sbcglobal.net

Architectural Designer- Conrad Sanchez- 209-522-4882 conrad@bluesi.com

Interior Designer- Nicki West 209-604-2345 nickiwest@sbcglobal.net

Lighting Designer- Randall Whitehead 415-626-1277 rdw@randallwhitehead.com

Photographer- Dennis Anderson 415-971-0722 (dandersonphoto@gmail.com)

EDITOR’S LETTER: Preserving the past for future generations…

In ways that were not entirely planned, this issue of ARTES is about preservation of our cultural resources, in the broadest sense of the word.  The green design movement has done much to increase public awareness about the treasures of a planet that seems to grow smaller and more fragile each day. Our Departments (now called Categories) will continue on the theme of discovering and appreciating treasures that are within our reach at museums and galleries and a wide variety of other stories on art and collectables that might just arise from unexpected sources.

But, we did not stop there…

Frederic Church, Autumn in North America, 1856 (Vassar)

For a Features story, I undertook a ‘working vacation’ and headed up the Hudson River to learn more about the community of 19^th century painters who lived and worked there in the, capturing the natural beauty of the river and the surrounding Catskill mountains.  I discovered that they, too, harbored deep concerns about the impact that industrialization and population expansion would have on the environment, as early as 1825!

Henry David Thoreau, well-known for his part in an active environmental movement during that same period, spoke for an entire group of painters, writers, poets and philosophers of the time, when he famously wrote, “In wildness is the preservation of the world”.  His call for a “direct experience of nature” propelled artists like Cole, Church, Cropsey, Bierstadt and others to travel the world and portray the wonders of nature and, through the use of light, color and scale, to illustrate our diminutive place in what they believed to be tangible evidence of God’s hand at work here on earth.  As I navigated the rough trails and steep climbs that brought me to some of the very sites pictured in their now-famous works, I recognized the extraordinary physicality they must have brought to their mission—recognizing that they painted miles from home, while relying on portage of all equipment, good weather, basic tools-of-the –trade (paint tubes had not yet been invented!) and the means to carry freshly-painted studies of a scene back to the studio, safely (as a painter, I can attest to the fact that this last step is no easy task).  They were rewarded for their sacrifice, however, as their dramatic images have moved many generations to view the gifts of the natural world as both sacred and awe inspiring.                                                                                                          

This month, ARTES will present a comprehensive field report on the Hudson River Valley and its inextricable role in the development of the preservation movement, as well as our self-image as Americans. See: River of Dreams- In search of the American Identity in literature, poetry and art                                                                                                                                                                                                                     

Robert Stern, Dean, Yale School of Architecture

As a unique feature, representing a first-step toward becoming a multi-media resource for our readers, ARTES presents an expanded interview with Robert A.M. Stern, Dean of the School of Architecture at Yale University.  In streaming video format, my conversation with him regarding the sources of inspiration and objectives of architecture are explained in his own words. On the preservation theme, he too, points out the importance of learning from the past.  Once again, we are pleased and honored to have this eminent architect

as part of our offerings to readers (and now, viewers!).

California-based, Randall Whitehead has now joined the magazine as a feature editor and this month, his story on the conversion of a traditional residential dwelling to a dramatic Transitional beauty once again demonstrates how skillful design and lighting can make all the difference—conservation at its best!.                                                                        

attrib. to Buoninsegna, Virgin and Child Enthroned with Four Saints 1305-10

ARTES also presents Part II of a story by Alix Perrachon on another art form– Oriental rugs– and their ‘green’ features during production.  In addition to their environmental sustainability, their beauty, range of styles and versatility make them one of the great treasures of centuries past and a precious addition, worth preserving, for any décor today.

Together with these Feature stories, ARTES continues to build its Department offerings with experts in their respective fields providing insights and information on topics related to fine art and design, where care and stewardship of artifacts from the past become the common  thread that runs through their stories.  With those themes in mind, we also welcome Stephen Vincent Kobasa, as this month’s contributor to Opinion Poll, with a piece entitled, Showing Time: Can art be saved? Should it be?

Thanks for being part of our growing family of readers,

 Richard J. Friswell, Publisher and Editor-in-Chief