Glass Fibre Optics Functional Architectural Lighting Applications

St. Francis Convent  Stained Glass                                          Aston, Pennsylvania           

A huge 19th century convent received money for stained glass lunettes in two of their large mahagony doors.  The committee decided to light one with halogen, and the other with glass fibre  optics.  

It took one day less for the glass installation.

Unlike the halogen, the glass fibre optics light did not heat the venerable wood surround and produce glare. 

When more money is obtained for further stained glass, the miniaturized glass fibre optics will be used.

Scale model of a 19th Dynasty Egyptian Palace
Lower Egypt Gallery, University Museum
University of Pennsylvania, Philadelphia, PA

Since the l920’s, an 8-foot model of a 19th dynasty Egyptian Palace had been on display without illumination in the prestigious University Museum’s Lower Egypt Gallery.

Very low display budgets and perceived lack of suitable lighting technology left this unique artifact in the dark.

Open on three sides, it was a favorite of children, even though interior details were not easily discernable.  The fragile and historic nature of the construction precluded penetration of the original highly varnished fabric. Illumination had to be designed to conceal hardware and eliminate glare, no matter which of the three openings were used to look inside.

With an affordable design, it was decided to use this most energy-efficient technology to provide cool lighting in the museum’s hottest gallery. Just one metal halide lamp powers points of light replicating sunlight entering the columned chamber from the windows.  Now the dazzling colors can be seen safely and comfortably from any direction.

Traveling Exhibit:
The three-year Modern Mongolia
University Museum, Philadelphia

Ethnic Mongolians were brought to Philadelphia to erect a traditional 18’ diameter ger (tent) which houses an entire family.  The early20th century artifacts will remain in the United States for three years, visiting museums throughout the country.  The complexity of this problem included:

1.    Very limited budget
Lighting equipment had to be discreet, and could not be permanently attached to the historic components.  Inside the tent, heat normally emitted from artificial light was not acceptable.

4.  The conservation light level could not exceed 50 lux (5 fc).  The museum conservator monitored the initial installation.

5.  In Mongolia, minimum artificial light, like a dim “butter” lamp, is used inside the tent. Nevertheless, while original ambiance was desired, all objects within the ger had to be visible to viewers through both its open door and also from the tent’s partially uncovered sides.

Using several levels of conservation level light, with 36 glass tails powered by one metal halide lamp, there was sufficient directional illumination to see all the details comfortably without glare. Fill-in light was provided to avoid stark contrasts between light and dark spots.

The project was executed within the low budget.

Simple installation and maintenance (employing one 150 watt, 6,000-hour lamp) fully suited the criteria. The tent lighting is automatically controlled on a timer coinciding with museum hours.

Glass fibre optics provided flexible energy-efficient recreation of the authentic color and light levels.  Compared to similar displays in other museums, this lighting was a great improvement, allowing viewers to see comfortably details of each item within the ger. 

At the end of the three-year period, the reusable glass fibre optics equipment was donated to one of the exhibiting museums not formerly aware of this completely different technology.

Custom hospitality lighting:
Vango Lounge and SkyBar
Philadelphia, PA              

This 10-foot diameter, 9-foot long custom chandelier required adequate support for 5,500 one- millimeter diameter glass tails hanging from 110-year-old timber framing; easy access to the ten projectors above; automated special effects; and maximum energy conservation.

Glass fibre optics functional architectural lighting was chosen because it is the most energy-efficient technology. Miniaturized, it fits into the historic building’s tight interstitial spaces. In this public place, it is safe, cool, versatile, and sustainable simply by relamping, not completely replacing the system after a finite time.

In this Japanese/Continental fusion restaurant, the German Schott glass fibre optics, manufactured in Eastern Europe and assembled in England to our specifications, powered by Danish projectors, created “fusion” illumination.

Avant Garde Lighting:
Bahdeebahdu Creative Lighting Fixtures
Philadelphia, PA

Bahdeebahdu creates one-off decorative lighting fixtures, often from found objects.  Usually, many traditional lamps or bulbs are needed to create the special effects desired.  We were asked to design and furnish glass fibre optics illumination because the miniaturized system perfectly suited the particular limited space available. This light is cool to the touch and safe, because no electricity, just light rays, travels along the glass light guides. Glare is also eliminated and destructive ultraviolet rays are absent.

Solid glass rods pierced the sides of the "light fixture"- a 6' wooden stepladder.  One end of each rod was attached to a glass light guide ("tail"), so that the light traveled along it. One 150-watt metal halide projector powered a glass harness of 16 tails, each of equal level light, saving maintenance. This produced an energy-efficient yet sophisticated design for decades of permanent operation.

The light source (the size of a large shoebox) with a lamp with 6,000-hour (normal 18 month) life, was placed on the floor, with the tails draped on one side of the ladder as an added visual effect.  Rubber feet on the projector, and the quiet concert-style internal exhaust fan made for silent operation.

After success with the ladder, glass fibre optics were inserted into a horizontal conversation piece.

St. Mary's Steeple, Gloucester City, N.J.
 
Lighting Designer: Gersil N. Kay, CONSERVATION LIGHTING INTERNATIONAL
Architect:  Margaret Westfield, Haddon Heights, N.J.

    The parishioners wanted to light a 70’ metal reproduction of their original Victorian wooden steeple 150’ above the street so that it could be seen several miles away. There was no room for a conventional lighting system. A significant factor was low operating expenses. The architect pioneered in using glass fibre optics offering considerable maintenance and energy savings. A scale model was made from the drawings and color-coded with suggested tail sizes and positions.

Close communication among the architect, project manager, electrical contractor, general contractor, steeplejack and the fibre optics consultant was required.

Once wiring for power and controls was installed, the steeplejacks, hanging on the outside, drew the glass tails passed through small holes pre-drilled by the electricians inside.

Unobtrusive custom stainless steel wind-proof fittings held and focused the tails on the body of the steeple, four lower crosses, the trefoils and quatrefoils at the bottom, the large lower dormer windows, the smaller upper dormer windows, and the 6’ gold cross at the top.

Because even after the lighting consultant traveled to Kentucky to view the assembly, the actual steeple was not constructed exactly as shown on the plans, many adjustments had to be made during focusing.

Only 13 - 100 watt and 2 – 150 watt metal halide projectors, spaced over six levels within the steeple, were needed. Without employing blazing floodlights in this residential neighborhood, a gentle glow was created.