With so much at stake in the recent elections, ARCHITECTURAL LIGHTING asked: How do you think the 2008 U.S. presidential election will impact the lighting industry? Here, the presidents of the two principal professional U.S. lighting organizations offer their perspectives before and after the election.
ARCHITECTURAL LIGHTING asked the lighting designers, artists, and architects involved with the projects discussed in the fall issue of A|L LED to offer their perspective on light-emitting diodes (LEDs) and the benefits and difficulties in working with solid-state lighting technology.
To take the “pulse” of its readership and hear how members of the lighting community are responding to the present situation, ARCHITECTURAL LIGHTING's Sept/Oct exchange question asks: With the slowdown in the current U.S. economy, what effect is it having on your firm/company's workflow and projected workflow for the next 12–18 months?
What can be done to address the shortage of lighting design professionals in the workplace? How will the lighting design profession innovate and sustain itself for the future? Replies and proposed exchange question topics can be submitted to edonoff@hanleywood.com.
In keeping with ARCHITECTURAL LIGHTING's editorial mission—to promote dialogue in all forms—it is gratifying when an article prompts spontaneous discussion among members of the lighting community. Such an instance occurred—an e-mail exchange between Dawn Hollingsworth, Jim Benya, Francesca Bettridge, and Gary Flamm—in response to Bettridge's Sept/Oct 2007 article, “Observations From Practice.”
There are many ways in which an individual can arrive at the practice of lighting design. For some it is borne out of architectural study and training. For others it is an engineering path, and yet still there are those individuals who discover lighting through artistic pursuits. The question then is, whether through formal academic means or individual inquiries, how do you educate for lighting? How do you prepare and train someone to practice lighting design?
How do you balance the design process while adhering to energy code requirements?Is it possible for both to coexist without any sacrifices to the lighting design concept and implementation?
For this issue, ARCHITECTURAL LIGHTING's annual Light & Architecture Design Awards, the lighting designers and architects behind this year's winning projects share their thoughts on the “starting process.” The topic posed is: How do you start the design process? Is there a clear moment of “beginning”? What did you do to set about creating a working environment that led to this award-winning work?
The April/May Industry Exchange question addressed one of the more interesting and contentious debates to face the lighting industry in recent memory—What will be the fate of the incandescent lamp? Lighting designer and IALD president-elect Jeff Miller offered his thoughts on the subject in the April/May issue. The discussion continues this month with three additional perspectives.
With so many recent proclamations to "Ban the Bulb," politicians and manufacturers seem to have made a cut and dry case against incandescent sources. But is there a legitimate complaint? Are compact fluorescent lamps the solution, as this "Ban" would advocate? Or is it a far more complex issue with numerous factors that go well beyond the simple incandescent lamp itself, which has served us for the last 125-plus years? Jeff Miller, President-elect of the International Association of Lighting Designers, starts the conversation this month.
A|L's Industry Exchange Question was developed as a means of promoting discussion among members of the architectural and lighting design communities. Past questions have addressed a variety of topics, including: commoditization, the frequency of tradeshows, credentialing, and the impact of sustainability.
Emergency Lighting--Whose Responsibility Is It: The Electrical Engineer or the Lighting Designer?
Architects and lighting designers are no longer restricted to practicing their craft in the immediate vicinity of their local city or state. The dynamics of globalization have changed all that. Today, it is just as easy for a firm to be working on a project halfway around the world, as it is to be just a few blocks away. What are some of the issues facing architects, lighting designers, and manufacturers as they enter the realm of global practice? What are the cultural influences on the design process when working abroad?
Whether selling products or services, a professional business must anticipate potential problems with its customers and know how to respond promptly to such problems in order to avoid liability.
Following on the theme of education discussed at the January IESNA Conference, what is the state of lighting research in the United States today? For that matter, what is the state of building science technologies research?
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