37th Annual SOURCE Awards
Student Category
37th Annual SOURCE Awards Winner - Student
Hazel Chang
Appalachian State University, Boone, North Carolina
Project: Light the Carnivore Restaurant on Fire!
38th Annual SOURCE Awards Call for Entries
Professionals and Students
Deadline: January 30, 2015
Honoring Professionals and Students
The 38th Annual SOURCE Awards national lighting design competition is open to all lighting designers, architects, engineers,
professional designers and consultants who predominately use lighting and controls products from Eaton’s Cooper Lighting
business in an interior or exterior design project.
Students currently enrolled in any of these disciplines are also eligible to enter conceptual lighting design projects and are
judged in a separate student category.
This year’s competition will once again seek a creative use of fixtures providing energy-efficient design solutions in addition to
standard projects. A $2,000 cash award goes to the winning design firm(s) and the student winner is awarded $1,500.
Entries must be postmarked on or before January 30, 2015. Please contact Karin Martin with any questions at 630.513.8625 or
Kmartin41@aol.com. Visit www.cooperlighting.com/sourceawards for entry form and details on the competition requirements.
Eaton’s Cooper Lighting brands include: Halo, Metalux, Portfolio, Halo Commercial, Neo-Ray, Corelite, Sure-Lites, Lumark,
McGraw-Edison, Fail-Safe, Lumière, Shaper, IRiS, Ametrix, RSA, io, Invue, MWS, Streetworks and Cooper Controls.
37th Annual SOURCE Awards
Student - Winner
Hazel Chang
School: Appalachian State University, Boone, North Carolina
Project: Light the Carnivore Restaurant on Fire!
Hazel Chang
Project: Light the Carnivore Restaurant on Fire!
When you really think about it, fire is abstract. It is the glow of a warm sensation rushing through your heart, the passion of a goal
you wish to achieve, the tingling of heat against your skin, the mixture of red, orange, and yellow. It can make you feel safe, keeping
you warm through a bonfire, or it can make you feel endangered, when it has a mind of its own and you can’t control it.
The infamous Carnivore Nairobi embodies the concept and importance of fire. The iconic grill at the entrance is the heart of the
restaurant as their specialty is barbequed meats served on large swords. Their logo is the literal imagery of flames, reminding all of
the Carnivore grill and food. In redesigning the infamous Carnivore, the objective was to make the entire restaurant truly embody the
power of fire.
The lighting design is imperative to conveying the concept of fire throughout the space. As you approach the restaurant, you
walk through an outdoor arcade that is lit with in-ground compact LED Boca 650 fixtures from Lumière that alternate red and
orange lamps to accent and graze up the arcade columns and around curved wooden decorative room dividers on the interior.
Ametrix LC32 linear strips are detailed into the casework to backlight the three-form panels of the receptionist, cashier, DJ station
and bar counter. Another LED product incorporated in the space is flexible LED fixture illuminating lighting with a programmable
DMX technology to create a flicker grazing the cove above the grill. This technology incorporates a color-changing feature that is
programmed to make the usual orange-yellowish lights flare up into red colored flame, much like the changing light of a real fire.
Decorative pendants that embrace the concept with their “flame” feature are used throughout the dining areas. These aluminum
finished, cylinder shaped luminaires have a flame-like design on the side that is literal but subtle enough to give flare to the
space. Finally, the general lighting in the space is simple MR16 tungsten-halogen recessed downlights that provide a warm color
temperature. Outdoor courtyard dining posed a design problem, as there is no ceiling or roof above many of the dining tables.
To solve this problem, suspended LED strands illuminate like white, red, and orange sparks in the night sky were strung over the
tables.
Overall, lighting in the new Carnivore restaurant redesign creates an environment that embodies a fire. Customers coming to the
restaurant to have dinner will be greeted with a warm atmosphere that will make the eating experience truly a fiery experience
enhancing the food and fellowship.
Contact Karin Martin at kmartin41@aol.com
or 630-513-8625 for more information.
37th Annual SOURCE Awards
Student - Honorable Mention - Creativity
Rachel Harris and Courtenay Wright
School: University of Cincinnati, College of Design, Architecture, Art and Planning, Cincinnati, Ohio
Project: Rock Hallelujah
Rachel Harris
Courtenay Wright
Project: Rock Hallelujah
Venue
Project Insight
Rock Hallelujah is a historical preservation project of the First German Reform Church on Freeman Street in downtown
Cincinnati, Ohio. Our clients purchased this crumbling church in 2011 with the intention of saving it from demolition. Their goal
was to convert the church into a music venue with all proceeds funding an inner city music program located in the adjoining parish
building. Since this structure is currently protected as a historically preserved building, we were very limited in the architectural and
structural provisions we could make within the design.
Project Focus
Our main focus for the redesign was the venue space located within the congregation space of the original church and the
restaurant located in the undercroft of the church.
Concept of Day Lighting
Since the hours of operation for the facilities within Rock Hallelujah are scheduled mainly after dusk, the design will rely mainly on
artificial lighting sources. However, if either space were used for functions during the day, ample natural lighting would be provided.
The venue is lined with 20-foot stained glass windows, which allow a tinted wash of light.
Concept of Electrical Lighting
The original structure of the church dates back to 1850 at which point it was constructed with a traditional Gothic revival groin
vaulting. The church has since been renovated, replacing the vaults with a cove ceiling. We believed the most important aspect
of the structure to restore was the groin vaulting, to be done with a modern aesthetic. To recreate the concept of groin vaults, we
designed a structure of cast aluminum and, rather than in filling with masonry or plaster like traditional vaults, we substituted a
dynamic transitional material – theatrical gauze.
Restaurant
Project Insight
The Rock Hallelujah restaurant is located 1/2 story below ground in the undercroft of the church. In this space we dealt with
asymmetrical windows located at ground level.
Concept of Day Lighting
The original structure of the church undercroft was lined with unevenly spaced windows. To create a symmetrical placement of the
restaurant windows, glow boxes were designed to create an even wash of natural light on the interior. By shielding the windows with
frosted 3Form, we are able to restrict the views from the exterior while still allowing natural light to pour in.
Concept of Electrical Lighting
For the restaurant, we wanted to emulate groin vaults similar to the ones in the venue space without duplicating. We chose to create
the restaurant vaults using backlit 3Form panels, shaped as groin vaults. Lighting is dispersed within the vault from the ceiling and
wall plane. These vaulted glow boxes, not only help to define circulation paths, but provide the same visual interest as the venue.
Contact Karin Martin at kmartin41@aol.com
or 630-513-8625 for more information.
37th Annual SOURCE Awards
Student - Honorable Mention
I. DAY
II. NIGHT
Jiyoung Bae
School: Parsons The New School for Design, New York, New York
Project: Reaching for the Sky
Jiyoung Bae
Project: Reaching for the Sky
What is it about lightness or darkness that attracts us? It is the transition from one opposite to another, and how we perceive
that transition. As a designer, how can I create a sense of continuous flow that attracts people and leads them through the built
environment? Opposites are defined by each other and their relationship: Without darkness, there is no lightness. Without the sky,
there is no earth.
Similarly, buildings are defined by their surroundings. This site is located in the Lower East Side in New York City, across from a park,
bordering the Italian and Chinese immigrant communities, and functions as a light lab, exhibition and educational space.
The continuous, folded concrete ramp from the ground floor up to the rooftop garden connects the green spaces of the park to the
roof, moving from the earth to the sky. The blue LED-lit handrail provides a visual guide to reinforce this continuity. The contrast of
light and dark areas are used to draw visitors further into the building and up towards the sky.
I. DAY: Daylighting Concept
The custom double-glass façade that incorporates horizontal and vertical diffusers and refractors is inspired by nature and how the
clouds protect against UV rays while also diffusing and refracting visible light. It functions as a light shelf, diffuser, UV blocker and
ventilation system. The glass envelope assures that all available natural light penetrates the building during the day, thus reducing
dependence on electrical lighting and only using LED-based lighting for tasks.
II. NIGHT: Electrical Lighting Concept
The key concept is to maintain similar light levels during the night and day, while being energy-efficient. Due to their flexibility and
possible combinations of length, light output, beam angles, color, io line series .75 symmetric fixtures were used extensively in this
project. The custom ceiling of the auditorium is a combination of cool and warm white linear LEDs mounted perpendicular to each
other. These fixtures were also mounted under the benches in the circulation space to function as pathway lighting, as well as
mounted under the handrail to provide the visual continuity central to the project concept.
All electrical lighting fixtures specified are LED or fluorescent, thus achieving a very low building lighting power density, exceeding
ASHRAE/IES 90.1-2010 guidelines while providing sufficient illuminance per functional area as per IES guidelines (10th Edition).
Atomic clock, occupancy and light sensors are used throughout the building to use electric lighting efficiently.
Contact Karin Martin at kmartin41@aol.com
or 630-513-8625 for more information.
37th Annual SOURCE Awards
Student - Honorable Mention
Juan José Acosta and Michael Hawkins
School: Parsons The New School for Design, New York, New York
Project: The Light and Dark Institute
Juan José Acosta
Michael Hawkins
Project: The Light and Dark Institute
The Light and Dark Institute is a research and educational organization that looks at strengthening the conscious utilization of
lighting on the built environment, as well as raising awareness on energy conservation issues.
The design of the building looks at the dichotomy presented by the name of the organization: light and dark. Inspired by that
opposing and interdependent relationship, the structure is divided into two buildings that contrast and complement each other in
spatial function, in structural support, in daylighting availability and in the character of its electric light.
The electric light in each half of the building is distinct. On one hand, the west building uses indirect coves that illuminate the walls
in combination with recessed adjustable downlights, which emphasize the exhibition spaces contained within it. This strategy also
emphasizes the materiality of this half, which is textured concrete. On the other hand, the east building has a lighting strategy that
completely contrasts that of its counterpart, having direct illumination provided by a consistent array of slots in the ceiling. These
slots contain all the lighting elements on the space, including direct diffuse linear sources and adjustable downlights. This strategy
also emphasizes the materiality of this half, following the line of the grain of the wood ceilings within a steel structure.
Contact Karin Martin at kmartin41@aol.com
or 630-513-8625 for more information.
37th Annual SOURCE Awards
Student - Award of Recognition
Kayla Johnson
School: University of Florida, Gainesville, Florida
Project: Ideaology Corporate Office
Kayla Johnson
Project: Ideaology Corporate Office
When a company wants to reinvent their everyday product to optimize efficiency, functionality and cost, they take their business to
Ideaology. Ideaology is an open office culture that brings their client in to be a part of the team. The collaboration that exists through
the process of creating an innovative product can be described as “hard-fun.” The office space is an all-around creation zone that
sparks out-of-the-box thinking through its professional use of classic games that foster the fundamentals of problem solving. The
program consists of one level totaling 24,000 square feet of a skyscraper in the heart of Atlanta, Georgia.
An office has to find the balance between functionality for its valued employees and the attraction factor for its sought-after clientele.
Another consideration is that by occupying such a large footprint, it is easy to waste energy. In that manner the office maximizes the
amount of daylight throughout the office from the glazed spandrel glass on the exterior of its footprint. Ideaology is an open-office
culture where every resident can enjoy the benefits of natural light. For the rest of the floor, glass partition walls enclose the semipublic areas to allow the sun light to penetrate through to corridors and offices located on the core of the building.
The use of artificial lighting acts as a supplement to daylight in order to regulate ambient lighting levels, illuminate tasks and accent
architectural details. Since this is a shared space where no one person takes ownership, all Corelite and Metalux luminaires in
public areas such as the open office, meeting rooms and café are connected to a room controller to integrate daylight, deal with
occupancy fluctuations and define target lighting levels. This will provide for optimal lighting in all areas throughout the day when in
use while ultimately achieving energy savings up to 60 percent.
In the open office, suspended Class A Perf luminaires mimic the desk configurations’ cross pattern below to provide direct-indirect
lighting to all residents in a way that supports their mixed media mode of working. The general path and task illumination in the
meeting rooms throughout the building are achieved by recessed Portfolio LDSQ6A20 downlights, which mimic the building
block motif of the company. The main path of circulation in defined greater utilizing the seamless illumination of the Ametrix
LC32 luminaire. Its cove lighting leads a guest from the elevator straight to the reception desk. The rest of a guest’s wayfinding
is attributed to the modulating backlit panels, which glow in the company’s main color scheme through gradation. In the meeting
rooms, the dimmable cove lighting provides another layer of illumination that is just right for task lighting during presentations. These
luminaires also project a floating effect when integrated into the cabinetry. Yet another way that the LC32 fixture is used is as a wall
washer. It provides the floor to ceiling, wall to wall glare-free illumination necessary for whiteboards and presentations. In contrast,
the recessed Neo-Ray 23XR luminaire provides more dramatic wall grazing to the community idea wall in the open office. In addition
to Corelite R2X luminaires in the café, the products is also used in private offices to shed every corner of the room with light.
Throughout the café, the Shaper 461 and 476 series provide accent task lighting.
All in all, the integration of luminaires and systems from Eaton’s Cooper Lighting business provide this corporate office with a
harmonious lighting solution, which is in tandem with their environmentally responsible values. It’s an optimized energy efficient
design for the modern office.
Contact Karin Martin at kmartin41@aol.com
or 630-513-8625 for more information.
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