INDEPENDENCE VISITOR CENTER PHILADELPHIA, PA

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Kelly Berry
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1 The theater is located off the main hall of the Independence Visitor Center as seen in Figure 5.1. This theater is primarily used for watching movies having to do with the history of Philadelphia and Pennsylvania. The theater has bench seating going up a sloped floor and then bench seating going up stairs in the back. There is a two leveled ceiling. The ceiling around the edges is one foot lower than in the center ceiling. There are two doors to enter and leave the space located at the end of the lower sloped aisle. Refer to figure 5.2 for the floor plan. Theater Figure 5.1: Location of Theater Figure 5.2: Theater Floor Plan Lighting/Electrical 25 Lisa Bornemann

2 SPACE CONDITIONS The floor in the theater is a very dark gray rubber. The walls are about 75% acoustic tile in a dark quill color and 25% painted gypsum wall board in a cream 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 5.1 below sums up the finishes and states the reflectance s of the materials. Finishes Floor Walls Ceiling Rubber Matte dark gray ρ = 0.20 Acoustical Panels on walls Dark Quill Ρ = 0.40 Table 5.1: Material finishes and reflectances DESIGN CRITERIA Furniture Combination of Benches and acoustical panels Podium: Light and drywall painted wood with matte matte off-white ρ = finish 0.70 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 the possibility of reading programs before a video and during intermission, facial rendering for the audience and speaker at the podium, circulation during a video, and seeing the projection screen. This space should have a relaxing atmosphere so people can relax while waiting for the video to begin. Since the walls are mostly acoustical panels, there should be no fixtures mounted to the walls. I want this space to be very minimalistic. I do not want anything obtruding the surface more than a recessed fixture. 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. During the picture the footcandles is usually obtained by the light from the screen. The screen luminance runs between 3-20 cd/m 2 depending on the colors on the screen at any given time. For proper facial Lighting/Electrical 26 Lisa Bornemann

3 modeling, the lamps used should have a warm color temperature so the 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 is not as harsh as the shadows downlights alone will produce. Since a variety of tasks can take place in the seating area, it is necessary to be able to achieve a variety of illuminance levels. There should be a minimum of fc in the seating area when the show is not on. The system should have capabilities to reach up to 30 fc for events when the audience may need to read or write. A theater requires the lights to be dimmed at the beginning of a show. It is necessary to have the fixtures all on dimming ballasts for this purpose and for flexibility. It is also necessary to have a control system to control the fixtures separately for the different uses of the space. Fluorescent lighting should be used to minimize the power density. DESIGN CONSIDERATIONS Task Avoid harsh shadows Facial Modeling CRI in the 80 s Minimize Power Density Table 5.2 Criteria Warm CCT Use fluorescent lamps over incandescent when possible ILLUMINANCE CRITERIA Task Circulation during video Circulation before, after, and intermission Reading before, after, and intermission Speaker at podium Horizontal fc 5 fc 30 fc 30 fc Table 5.3 LUMINANCE CRITERIA Task Luminance Accent: Speaker at podium to wall behind 5:1 speaker Table 5.4: Luminance Criteria Lighting/Electrical 27 Lisa Bornemann

4 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 the recommended value from ASHRAE/IESNA Standard 90.1 ACTUAL DESIGN Two design options were created for this space. Option one utilizes a combination of fluorescent cove uplighting with compact fluorescent downlights. Option two utilizes fluorescent cove uplighting only. Both options have a halogen accent lights to light a speaker at the podium. FIXTURE SCHEDULE Type Description Manufacturer Lamp Wattage Ballast FA Recessed open compact Zumbtobel Triple 32W Electronic fluorescent downlight with 6" tube Dimming aperture CFL FB FB-1 FC Cove mounted 1-lamp fluorescent fixture with reflector Cove mounted 1-lamp fluorescent fixture with reflector Recessed low-voltage halogen adjustable accent light with integral transformer. Elliptipar T8 32W Electronic Dimming Elliptipar T5HO 32W Electronic Dimming ERCO MR11 20W N/A Table 5.5: Fixture schedule for options 1 and 2 LIGHT LOSS FACTORS Type RSDD LDD LLD BF Total LLF FA FB FB FC n/a 0.82 Table 5.6: Lighting/Electrical 28 Lisa Bornemann

5 OPTION 1: Lighting/Electrical 29 Lisa Bornemann

6 Power Density: Theater - Option 1 Type Lamp Wattage Input Wattage Number Fixtures Total Wattage FA FB FC Total Wattage 1639 Square Footage 1580 Power Density 1.04 ASHRAE/IESNA Standard states for a motion picture theater = 1.6W/sq.ft. Table 5.7 CONTROLS The control system used will be the Lutron Grafik Eye It has the capability to control up to 24 separate zones. Only five zones will be used in this case. Built into the Grafik Eye 3000 interface will be a timeclock that will automatically turn off all of the lights in the room at a certain time. Most likely just after 5pm when the visitor center is closed. Each zone is on a separate circuit so they can all be dimmed separately. These circuits will all go to a dimming panel. Refer to table 5.8 and figure 5.3 for the dimming zones. Zone # Control Zone Fixture Type Quantity Wattage Total Load (W) Dimmer Type Zone 1 Adjustable Accent Lights FC Incandescent Zone 2 Fluorescent Cove FB Fluorescent Zone 3 General Downlights FA Fluorescent Zone 4 General Downlights FA Fluorescent Zone 5 General Downlights FA Fluorescent Table 5.8: Theater control zones Lighting/Electrical 30 Lisa Bornemann

7 FIGURE 5.3: THEATER CONTROL PLAN CALCULATIONS All calculations were performed using Lightscape. There are two main scenes that will occur in this space. Scene one is when visitors are entering and leaving the theater before and after a video and scene two is the time while the video is on and a presenter is standing at the podium. The figures below show the illuminance and luminance levels for both of these scenes. ILLUMINANCE MAPS OF SCENE ONE Figure 5.4 shows that there is a uniform illuminance of 30 fc over the floor plane when all luminaries are fully on. This is the maximum required of this space and is only necessary if reading is a task taking place. Figure 5.5 shows a perspective view of the space. The illuminance of the lower part of the wall is about 13 fc while the upper portion is darker at about 5 fc. Lighting/Electrical 31 Lisa Bornemann

Figure 5.5: Illuminance map while all lights are fully on in scene 1. Figure 5.

8 are renderings of the theater from different locations.

The cove uplighting leaves a memorable picture in a visitors mind.

8 Figure 5.5: Illuminance map while all lights are fully on in scene 1. Figure 5.4: Illuminance map of floor plan while all lights are fully on in scene 1. RENDERINGS Figures 3.6 through 3.8 are renderings of the theater from different locations. It is now easier to see the combination of the cove uplighting and downlights. The cove uplighting leaves a memorable picture in a visitors mind. The contrast between the lower ceiling and the raised ceiling is pleasing to the eye and elongates the space. It accentuates the fact that the ceiling is not one continuous plane. The light appears to pour out of an unknown cavity in the ceiling. Figure 5.6: Rending from the front of the room looking at the back wall. Lighting/Electrical 32 Lisa Bornemann

ILLUMINANCE AND LUMINANCE MAPS DURING SCENE TWO Scene Two has accent lights aimed on the speaker and the row of

9 Figure 5.7: Rending from the front side of the room looking at the back side. Figure 5.8: Rending from the back of the room looking at the front screen. ILLUMINANCE AND LUMINANCE MAPS DURING SCENE TWO Scene Two has accent lights aimed on the speaker and the row of downlights dimmed to 20% between the two exit doors. The video is also on providing additional light that was not calculated into the lightscape renderings. Lighting/Electrical 33 Lisa Bornemann

Figure 5.9: Illuminance map of speaker at podium. Notice the facial rendering.

10: Luminance map of the speaker at the podium.

Handbook requires for accent lighting. Figure 5.

The luminance ratio between the screen and the surrounding wall is approximately 2.5:1. Figure 5.

10 Figure 5.9: Illuminance map of speaker at podium. Notice the facial rendering. There is fc on the speaker while the rest of the area is dark. Figure 5.10: Luminance map of the speaker at the podium. The luminance ratio between the speaker and the back wall is approximately 5:1 which is what the IES Handbook requires for accent lighting. Figure 5.11: Luminance map of the speaker at the podium next to the video screen while a video is playing. The luminance ratio between the screen and the surrounding wall is approximately 2.5:1. Figure 5.12: Illuminance map of the path of egress leading to the two exits. The illuminance level on the floor is 4 fc. There is about 2.5 fc on the edge of the benches and 1 fc on the wall. This exceeds the minimum criteria stated by the IES Handbook. Lighting/Electrical 34 Lisa Bornemann

RENDERINGS Figure 5.13: During the video with a speaker at the podium Figure 5.

OPTION 2: Option 2 utilizes indirect light only.

cove in the middle that was used in option 1.

11 RENDERINGS Figure 5.13: During the video with a speaker at the podium Figure 5.14: Both of these renderings show the path of egress during the video. OPTION 2: Option 2 utilizes indirect light only. There are four coves being used, one along each of the side perimeter walls and the same cove in the middle that was used in option 1. Scene 2 for this option has the same accent lighting as option 1 but the egress lighting is now the perimeter coves dimmed to 15%. Figure 5.15 shows the reflected ceiling plan. Lighting/Electrical 35 Lisa Bornemann

12 Figure 5.15: Option 2 reflected ceiling plan CONTROLS: Figure 5.16 shows the control zones for option 2. Each control zone is a separate circuit. The controls will be the same as in option1. Figure 5.16: Option 2 controls and circuiting plan Lighting/Electrical 36 Lisa Bornemann

CALCULATIONS Power Density: Theater - Option 2 Type Lamp Wattage Input Wattage Number Fixtures Total Wattage FA 20 20 2 40 FB 54 62.5 41 2562.5 Total Wattage 2602.5 Square Footage 1580 Table 5.

There are two main scenes that will occur in this space.

13 CALCULATIONS Power Density: Theater - Option 2 Type Lamp Wattage Input Wattage Number Fixtures Total Wattage FA FB Total Wattage Square Footage 1580 Table 5.9 Power Density 1.65 ASHRAE/IESNA Standard states for a motion picture theater = 1.6W/sq.ft. Option 2 exceeds the allowable power density. All calculations were performed using Lightscape. There are two main scenes that will occur in this space. The scene when visitors are entering and leaving the theater before and after a video and the time while the video is on and a presenter is standing at the podium. The figures below show the illuminance and luminance levels for both of these scenes. ILLUMINANCE MAPS OF SCENE TWO Figure 5.17: Illuminance map in perspective view of front of theater. The ceiling illuminance is higher than in option 1 because T5HO lamps were used instead of T8 lamps. Figure 5.18: Illuminance Map of floor plan of option 2. There is about 25 fc on the floor which is slightly low for reading, but since much reading is not expected to be done here, this level is acceptable. Lighting/Electrical 37 Lisa Bornemann

RENDERINGS Figures 5.19 through 5.20 are renderings of the theater from different locations. It is now easier to see what the theater looks like with uplighting only.

There is a completely uninterrupted ceiling plane. The contrast between the wall sides of the ceiling and the inner edges creates an interesting pattern.

14 RENDERINGS Figures 5.19 through 5.20 are renderings of the theater from different locations. It is now easier to see what the theater looks like with uplighting only. There is a cove along each side wall with a fixture uplighting the ceiling on the sides as well as the cove through the middle. This lighting scheme leaves all fixtures hidden. There is a completely uninterrupted ceiling plane. The contrast between the wall sides of the ceiling and the inner edges creates an interesting pattern. Again this accentuates the fact that the ceiling is not one continuous plane. The light appears to pour out of an unknown cavity in the ceiling. Figure 5.19: Rendering of option 2 from front of theater looking at back wall. Figure 5.20: Rendering of option 2 from back of theater looking at front wall. Lighting/Electrical 38 Lisa Bornemann

Figure 5.22: Rendering of option 2 scene 2 from front of theater looking at exit path. Figure 5.21: Illuminance of exit paths.

COMPARISON Option 1 appears to be the better choice of the two. The power density is much lower for option one.

workplane. This is because indirect lighting is the most inefficient method of lighting.

15 Figure 5.22: Rendering of option 2 scene 2 from front of theater looking at exit path. Figure 5.21: Illuminance of exit paths. Coves next to the walls are dimmed to 15%. About 3 fc are on the floor. Figure 5.23: Rendering of screen while cove lights are dimmed to 15%. COMPARISON Option 1 appears to be the better choice of the two. The power density is much lower for option one. The main reason behind that is that it was necessary to use T5HO lamps in order to light the ceiling enough to give the appropriate illuminance level on the workplane. This is because indirect lighting is the most inefficient method of lighting. The other problem with complete indirect lighting is that can give off a hazy feeling to people in the room. There are no shadows, so peoples faces sometimes look somewhat flat. Option 1 also has a higher illuminance level on the workplane. Overall, I would recommend using option 1. Lighting/Electrical 39 Lisa Bornemann

The Bahen Centre for Information Technology. Lecture Hall Lighting Redesign. Introduction. University of Toronto ~ Toronto, Ontario, Canada

The Bahen Centre for Information Technology. Lecture Hall Lighting Redesign. Introduction. University of Toronto ~ Toronto, Ontario, Canada Lecture Hall Lighting Redesign downlight system, and the other will be an indirect pendant mounted lighting system. Figure 5.1 ~ Ground floor plan; Lecture hall location with respect to the entire building