Architecture of the Night : A Series of Articles Published by the General Electric Company to Suggest the Possibilities of Architectural Illumination

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INTERNATIOMAL

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INTERNATIONAL

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ARCHITECTURE

OF THE
NIGHT

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INTERNATtONAl

ARCHITECTURE

OF THE

NIGHT

A series of articles published by the General

Electric Company to suggest the possibilities

of architectural illumination

GENERAL ELECTRIC COMPANY

SCHENECTADY, NEW YORK

THE FISHER BUILDING, DETROIT, MICHIGAN, FLOODLIGHTED BV
G'E NOVALUX FLOODLIGHTING PROJECTORS

Raymond M. Hood Predicts "Architecture of the Night"

SEES FASCINATING POSSIBILITIES IN NIGHT ILLUMINATION
COLOR, PATTERN AND EVEN "MOVEMENT" MAY BE ATTEMPTED

?

Ir is the privilege o£ the General Electric Com-
pany to present this significant interview with
Mr, Raymond 'M. Hood. Night illumina-
tion — the "Architecture of the Nii:^-ht" — is a sub-
ject of immediate interest to all architects of
important building;S and one to which Mr. Hood
has devoted thoughtful attention. It is a new
branch of the art and fully deserves the open-
minded consideration that is being given to it by
acknowledged authorities. While many of the
ideas here presented for the first time are of
far-reaching import to professional practice of
the future, it may be that even
the present year will see the
brilliant fulfillment of some of
Mr. Hood's glowing predic-
tions.

"The possibilities of night
illumination have barely been
touched," said Mr. Hood.
"There lies in the future a
development even more fan-
tastic than anvthino- that has
ever been accomplished on the
stage. Up to the present, we
have contented ourselves
mainly with direct and flood-
lighting of varying intensity.
There is still to be studied the
whole realm of color, both in
the light itself and in the
quality and color of the re-
flecting surfaces, pattern stud-
ies in light, shade and color,
and last of all, movement.

"When I was studying the
lighting of the Radiator Build-
ing, I tried, with the help of
Mr. Kliegel, a few experi-
ments that opened my eyes to
what might be done. We tried
nuilti-colored revolving lights
and produced at one time the
effect of the building's being
on fire. We threw spots of
light on jets of steam rising
out of the smoke-stack. Then
again, with moving lights, we
had the whole top of the
building waving like a tree in
a strong wind. With cross-
lighting, that is to say, light-
ing from different sources and
diiferent directions across the

light

UNDER G-E FLOODLIGHT!;, THE GRACE AND
DIGNITY OF THE AMERICAN RADIATOR BUILD-
ING CARRY AS IMPRESSIVE A MESSAGE BY

NIGHT AS BY DAY,

same forms, the most unusual cubistic patterns
were developed. All of this, however, was experi-
mental, as we did not feel that either our knowl-
edge of the art or the perception of the public
was at a point where it would be wise to attempt
extravagant and exotic effects. It was not a lack
of courage or nerve that held us back, merely the
question of taste, on account of the building's
being in such a prominent location.

"At present the art is new, our knowledge very
scant, and we all play safe. For example, day-
sunlight — is constant from a single sotirce

and in a single direction. That
is what brings out the model-
ing and massing of a building,
as in everything else, as we
understand it. So at night we
follow the same rule, merely
reversing the direction of
light, turning it up instead of
down, although in Classic
architecture \ve frequently use
long,hori2ontal bands lighting
downor outlining our architec-
ture with lines of light. The
general tendency of all of this
lighting is to flatten out the
modeling and relief, unless it
is thrown across a projecting
band as in the case of a build-
ing with strong projecting
cornices lighted from below.
Such a condition reverses the
daylight effect and usually up-
sets and otherwise disconcerts
the composition of the archi-
tectural forms. For that rea-
son, with vertical lightingfrom
below, unless a horizontal
member can be so studied that
it composes either right side
up or upside down,— an ex-
tremely difficult thingto do, —
it is safer to suppress it or, to
put it another way, to illuminate
onl3-I)uildingswheretheschori-
zontal members do not exist.
"Vertical lighting from be-
low adds the element of mys-
tery, as the fading out of

lights from the bottom to the
top exaggerates the perspec-
tive, and seeing the building
disappearing up into the night

Fairchild Aerial Surveys, Inc.

NEW YORK BY DAY— A "LOST CITV" BY NIGHT. LET YOUR IMAGINATION PLAY WITH THE EFFECT OF COLOR, PATTERN, AND MOVEMENT

WHICH MR. HOOD PREDICTS NIGHT ILLI-MIN.A.TION WILL GIVE TO THIs'aRCHITECTUR.A,L MASS.

gives it an increased height. It follows, therefore,
that the type of architecture that is the most easy
to illuminate successfully is "what can be called
our American perpendicular, as the lights can be
arranged to stream up the vertical forms of the
building, gradually disappearing into the night,
and the set-backs and terraces provide ideal
places for the operation of the lights.

"I have spoken of the possibilities of cross-
lighting. I recently saw an extraordinary photo-
graph by Steichen where cross-lighting on a
regular arrangement of hunps of sugar on a flat
surface produced the most astonishing effect of a
Scotch plaid. Tlie same principles can be applied
to the forms in a building, but it must always be
remembered that the intensity of light and possi-
bility of effect are increased if the shadows are
not completely destroyed, as it is the combination
of light, shade and shadow that gives the pattern.

"One of the first criticisms that can be brought
against the ordinary methods of floodlighting is
that they merely produce glaring, unbroken sur-
faces in which all texture in form and pattern is
lost and the only effect produced is that of the
light against the surrounding darkness. All of
this is well and good, but it does not attempt to
realize or make the most out of the limitless
possibilities in the art.

"There is also the qtiestion of the character,
texture and color of the surface to be lighted. To
take again the case of the Radiator Building, the
richness, depth and quality of color (I can say
this modestly as it was almost accidental) are
produced by an amber light thrown on a metallic
pure gold surface. Certainly, among the other

buildings, this color has a distinction and a
quality that is very mysterious. The study of
details of a building in night lighting is relatively
unimportant. Almost the only effect seen is the
contrast of light and darkness, and this effect
is always so vivid and striking that masses are
all that count in the picture.

"Eventually, the night lighting of buildings is
going to be studied exactly as Gordon Craig and
Norman Bel Geddes have studied stage lighting.
Every possible means to obtain an effect will be
tried, — color, varying sources and direction of
light, pattern and movement. In this last case,
I cannot even see any logical reason why a build-
ing should not be made to move and flutter.
There is nothing more shocking or astonishing
in the idea than there is in hearing over the radio
the voice of a man in England, who by the
accepted standards of one hundred years ago was
completely out of sight, range and mind.

"At^ present we are in the A, B, C stage of illu-
mination. If we want to see something, we turn
a light on. Anyone who has seen the color organ
that has been played in some of our concert halls
can realize that the illumination of today is only
the start of an art that may develop as our mod-
ern music developed from the simple beating of a
tom-tom." "^

cTvy^^^

Corbett Advises Designing Buildings for Night Illumination

"ARCHITECTURE OF THE NIGHT" SHOULD NOT BE AN AFTER CONSIDERATION
BEST RESULTS OBTAINED WHEN INCORPORATED IN ORIGINAL PLANS

THE General Electric Company takes pride in an elevator pent house and pressure tanks, and his
presenting the constructive suggestions and vision of ancient Greece restored ends in a galvan-
ripe judgments of Mr. Harvey Wiley Corbett. ized iron temple enclosing the aforementioned pent
Mr. Corbett is one of the first to give serious consid- house and tanks, Now a newer and still more con-
eratlon to the exterior illumination of buildings. He fusing problem has been added to his already corn-
has studied this phase of architectural design very plete store of problems. Night illumination of build-
deeply, and his knowledge and personal experience ings has become a very popular and effective ele-
ment in design, particu-
larly ill buildings of the
skyscraper type. Having
designedhisarchitecture.
coniices, mouldings, and
details with due regard
for an angle of sunshine
falling from above at -IT)
degrees over the left
shoulder, he now finds
himself confronted with
beams of night light
shooting upward at a
dozen different angles,
completely reversing his
entire design problem so
that every carefully
studied shadow becomes
a high light and every
studied proportion is
turned upside down. The
question arises* *can we
design our buildings to
be equally effective for
the eight or ten hours of
daylight and at the same
time be architecturally
satisfactory for a few
hours of specially illumi-
nated night time;'

"From a critical point
of view, more attention
is given, more comments
are made, more interest
is aroused when build-
ings are artificially illu-
minated than during the
natural daylight. Night
illumination attracts at-
tention like a spotlight

give unquestioned au-
thority to his opinions.
In the following inter-
view he emphasises the
importance of designing
buildings with a view to
the best effects of flood-
lighting, and points out
the disadvantages of
leaving these considera-
tions to the outcome of
chance.

"The troubles of the
poor architect never di-
minish, but only multi-
ply. Just when he thinks
he liasmasteredthe prin-
ciples of the architecture
of the Ancients, a whole
lot of new commercial
and mechanical problems
are thrust upon him and
he has to revamp all his
ideas of architectural
form, proportion, and
mass to m.eet the practi-
cal needs of the day.

"A Greektemplebask-
ing in the sunshine of a
Mediterranean summer
day and reflected in the
waters of an azure sea,
inspires him with the
hope of some day repro-
ducing such a vision in
his own country. The
first opportunity to re-
construct this delightful
vision is a twentv-storv
loft building capped by

FLOODLIGHTING IS NOT TO BE RESTRJCTED TO THE LARGEST CTT[ES
AS EVIDENCED BY HELMLE A CORBETt's EFFECTIVE DESIG:^ FOR THE
ILLL'MIN'ATIOV OF THE NEW PENNSYLVANIA POWER * LIGHT CO,
BUiLDlXG AT ALLENTOWN. G-E FLOODLIGHTING WILL TRA.VSFORit
THIS JiL'ILDlNG INTO A AIAG.MFICENT BEACO.V.

on a stage. Buildings
are noticed and com-
mented on which other-
wise would be passed by
the casual observer with-
out a thought, so that
from one point of view
the problem of architec-
tural design with respect
to night illumination is a
very serious one, demand-
ing a great deal of study
and research. It will un-
doubtedly become of
ever-increasing impor-
tance and one which no
architect can afford en-
tirely to overlook. For-
tunately modern com-
mercial demands have
made many of the old
familiar architectural
forms which have come
down to us from a
past generation inap-
propriate in modem
work. In high buildings
particularly, the cornice
has practically disap-
peared. Many other fa-
miliar forms have gone
with it. Mass, propor-
tion, silhouette, and
color haA-e become the
commanding factors,
and they are not so ma-
terially influenced bv re-
versing the angle of
light; but we cannot let
the matter rest with

chance, simply hoping that the result of night illumi-
nation may be good. We must design those portions
of the building which are to be illuminated with all
due respect and regard for this new element which
has become so important a factor in the appearance
of the building.

"It happens too often in the design of buildings
that illumination is an after consideration. The
architect finds that spaces on which illumination is
possible are not necessarily pleasing in mass and
proportion, whereas with the thought in mind of
planning these spaces for illumination, simple modi-
fications in the plans M^ould have made these
same spaces pleasing in proportion. Architectural

HELMLE & COR-BETt's FAMOUS BUSH TOWER. G-E TLOO DLIGHTI .S'O

ADDS A MVSTIC QCALITY TO THE BEAUTY Of THIS BUILDIXO AFTER

DARK, AND A5 MR, tORBETT SAVS, "ciVES TH E ILLUMINATED PQRTJO.V

THE APPEARANCE OF A JEWEL Iti A SETTING."

detail has not as much
significance as one might
imagine. Since the illu-
minating element is com-
posed of many sources
of light, the shadows are
seldom equally divided,
and the effect is more
one of diffusion than of
exactness.

"The problem, to begin
with, is one of mass and
proportion. That portion
of the building which is
illuminated stands out
clearly against a dark
sky and is separated
quite distinctly from the
portion of the building
unilluminated. Special
study must of course be
given to the line of tran-
sition between these two
portions. There is a tend-
ency for the illuminated
part to float unsupported
and thereby lose its
structural significance.

The foi-m of the illumi-
nated portion should be
so tied in with the rest
of the building that it
should appear as a jewel
in a setting, forming a
coherent part of the
whole structure. In or-
der to illuminate a build-
ing, two methods are gen-
erally in vogue, — one by
means of floodlights placed on the set-backs or ter-
races, and the other by means of similar units placed
on other buildings across the street or placed on the
ground. The latter form is rarely possible in connec-
tion with commercial buildings, but it has been used
with great success in the lighting of government
buildings and other public structures. It will be
readily seen that if there is a choice in the location
of the set-backs and their depth, it has a very direct
influence on the effectiveness of the lighting."

(Tvy^^rj)

Character in Architecture Emphasized at Night

PERTINENT SUGGESTIONS BY GEORGE L. RAPP. ARCHITECT. SHOW THE DRAMATIC

POSSIBILITIES OF FLOODLIGHTING

IK present-day architecture the designs of build-
ings are frequentl}' such that it becomes a very
desirable and very feasible part of the project
to illuminate all or portions of the buildings and to
present to view the beauties of the buildings at night
as well as during the day. It is not only possible
to light up an entire building with floodlights, but
in many instances the design of the building is such
that it is much more desirable to pick out certain
features of the building to accentuate and at the
same time produce silhouettes which bring out the
character of the structure.

There are many effects which floodlighting can
produce, such as variation in color, combinations of
colors, and intermittent dimming effects, as well as
a varying intensity of light and color. The selec-
tion of the type of floodlighting depends largely on
the character of the building, as well as on the nature
of the surface materials,
which "\-ary greatly in
light absorption and light
reflection. In consider-
ing color for floodHght-
ing purposes, efficiency
has great bearing on the
selection, since in using
the darker colors, stich as
blue, efficiency is as low
as 5 per cent. This indi-
cates that much more
current must be supplied
with the darker colors
than with the lighter ones
in order to produce effec-
tive results. Then again
the matter of visibility
must be taken into ac-
count. This has to do
with the possibility of
seeing a building lighted
in blue at a great height
and through atmosphere
containing either smoke
or fog. Thus illumina-
tion in brighter shades
of color naturallv has the
greatest value. However,
if an installation is made
in which the three pri-
mary colors, blue, red
and yellow, are in proper
proportions, every color
in the spectrum can be
produced by using con-
stantly rotating dimmers ;

THE STEPPED RANGES OF G-E FLOODLIGHTING ON THE PARAMOUNT
THEATER AND OFFICE BUILDING, NEW YORK, EFFECTIVELY ILLUS-
TRATE THE IDEAS OF THE ARCHITECTS, C. W. AND CEO. L. RAPP.

and if the building surfaces to be lighted are not too
far removed from the viewing point, this lighting is
ver\- effective. With the three colors on at the same
time, a white light will be produced which bears a
very close resemblance to daylight. The present-day
"white light," as electrically produced, is far removed
from sunlight or daylight, and unless some color is
introduced it may produce glare. This can easily be
overcome bv lighting a surface from two different
angles, particularly if the surface is somewhat broken
up with reveals or details in relief.

In using colors for lighting buildings, illumina-
tion from two angles and the use of complementary
colors will produce striking effects. Here again visi-
bility must be carefully considered, as in all color
lighting. Until such time as we can successfuUy
produce an artificial light resembling daylight, the
best effects in floodlighting will be produced by using

two colors as. already out-
lined. However, when
we do produce an arti-
ficial liEjht more closelv
resembling daylight, Ave

shall be able to light a
building so as to exhibit
all of the lights and
shadows which appear in
a building during the day
and which were upper-
most in the mind of the
designer while planning
the structure.

In designing floodlight-
ing systems, great care
must be taken in locating
the floodlicrbtins^ units so
that the desired effect of
the gradations of light on
the surface will be ob-
tained. This also in-
volves the necessity for
care f ul analysis o f the
light-absorbing and light-
reflecting qualities of the
material, and the distance
and anHe from which
this surface is to be
lighted. The use of set-
backs in modern Ameri-
can architecture serves
admirably tbe purpose of
floodlighting in that it is
much easier to locate the
units properlv, and it is
also true that present-day

BANKS OF CE KLOODUGMTS, ON TI.E.K STUKDV SIPPOKTS. AKE SRT AT VARIOl'S ANCLES TO PRODUCE STHIKINC Eri-ECTS ON THE PARAMOUNT THEATER

architecture nearly always embodies some motif
which should very properly be brou^On out by night
illumination.

In addition lo what is commonly known as flood-
liphtine:, many striking forms of Ilkimination can
he produced, l-'or instance, towers of light with
Hght on the inside, such as the ball of light atop the
Paramount Building in \ew York, afford possi-
bihties of floodlighting. Another .scheme is to throw
floodlight on smoke or steam coming out r)f an orifice
from tlie lop of a building, either in a single color
or in a combination of colors. Still another possi-
bility is that of constructing a large shaft equipped
with mirrors and having colored light thrown on the
mirrors from various angles, as well as the possi-
bility of lighting the water in fountains, using vary-
ing colors.

Other notable examples of the floodlighting of
recent buildings, in addition to the new Paramount
Building already mentioned, are the "Times Square/'
B. F. Keith theater and office building in Cleveland,
and the new Rialto Theater. T<^Iiet. 111. These three
buildings illustrate tJie use of difl'erent svstems of
floodlighting. Architectural floodlighting is more or
less governed by the actual composition and design
of the building which is to receive this lighting effect.
It is the wTiter's opinion that lines that form an
integral i^art of the composition of the structure
should also play the same part when the building
is illuminated at night; in other words, the structure

should always be the same in composition, lx)th night
and day. and the flood of light should tie in and be
part of the design of the building.

On the Paramount Building the floodlighting is
arranged to light all of the set-backs above the 19th
floor, and an added efl'ect is produced by having a
large amount of light contained in the glass ball
surmounting the apex. A notable contrast is pro-
vided in this lighting by having stud lighting on the
hands and the minute pcjinls of the large clocks on
thetopof the structure. In the Keith Theater in Cleve-
land, it was desired to accentuate the large arched
window decoration at the top of the building. In the
Rialto Theater at Joliet (as will be the case with the
Press Club in Washington) floodlighting consists of
lighting the large entrance niche in three Cf)lors— red,
green, and blue— controlled by the operation of an
automatic in o tor-ope rated dimmer, wliich produces a
very striking effect in the semi-domical niche.

The writer is of the opinion that the light can
always be so arranged as to emphasize motifs of
design. Modern floodlighting has this advantage
and has ceased to be a mere throwing of light on
the face of a building.

^\ie:ht Architecture" Will Be Perfected through the
Cooperative Efforts of Architect and Illuminating Engineer

B9 WAIlhH D'Arcv KyaV. lhr,,tor of Illuminating Enghurring Uhoruton , Crrnrai F.Ucirh Company:
Uirnt'.r of lUuminatt'jn, runumu-huific Intirnational and Uruziium Caitennhi Kxpoiit'tons.

IV 1 recent article in Tjit ARciuriCTtRAL Foru'M,
Mr. Harvey Wiley Corbeti states:
"It hap/rns tuu ufttn in tht dtsiyn of buildinys that
iUumtHalittn is an aftrr considrration. Thr ankitect
finds that spmti on uhiih illumination ii pussibU are
not mecrssarilji pUasiny in mass and proportinn, tchfrais
With the thought in mind of planning th^sf spui^s for

nibUT Tww or rna towm or iBwtLn amd MAMtrrACTimnV ictLDiNt.
■xrmiTinN. tms uivitnKttL'^ riix ckkmchvai'ion dv nicptii. utt itiK

A i'< >Mlil \A tlUN ()» Will [K VI noDLK.II tH AND (.(ILIINKII

tlluminutihN, slmplr modifuutiuns in tin- plans would

hate trmdf thrse samr spacer plfimnt; in prnportinn."

The iihnvc aptly expresses the need oi more careful

considerarion of flootJIrEhtfnE (fiiring the evnlijtii)n of

the buiMinu'* desi;:n. The illuiiiiiutini; cnijitKcr is

thurouuhly familiar wirh the limirnriofis in the design

of lighting apparatus. ThruuKh experience, he has

learned to iwe the ivailahle UuiU in the most efficient

nwiiricr. The architect may conceive the effect, but

If rfmaint for the enipneer to pnMUicr It in a practical

way. Far too ottru tlie en^jineer is not consulled until

it IS too late to alter structural plans to accotniiunl.uc

necewary apparatus.

The wrll-traincd illuiiufi.irint; crii^inccr uf tu-Ja> can
talk to the architect in hi^ own lanjpince. an<! he Is
competrnt to conceive arri-.tic li^htini: ctlccts as well a^
to execute them. At the Pannma-P.tclfic Fxposition,
in San Fratui.m, the cntitc icjpujisibiht) fur the plan-
ning and prtulucrion of the illumination was intrusted to
the illuniinatint enyineer. The wisdom of ^uch action
WM attested by the classification of rfir lii^htin;: of the
Exposition by the International Jury of Awards as a
"decorative art," largely becauie it appealed to the imag-

ination and feelings of the public, and carried a mes-
sage much the same as paintint^ or music. Thc^^c et-
lects were made pussibie largely by close cooperation
with the architects, w ho were not only interviewed as to
choice of motif to bcemphjyed in the design of the light-
ing '.landard and fixture, but were reiiuested to expresi
the general teeling they wished to convey to the observer

by their respective archi-
tectural composition^. ^VIth
this mfurmation it was not
difficult to carry out and
cmpb;i.si/c the architect's
theme in the lighting effect.

One of many noteworthy

examples ol; thi> willingness
to cooperate may be cited.
Tlie rough tra\t'rtlnc hni^h
of the Exposition's surfaces
was adopted onI> after the
need for such a dlfiFuser and
reHcctor of light iiad bceji
(h-mnii'st rated and laboratory
tests actual!) ni.ide on sam-
pltN. In modern structures
thl-i question of texture is
equally Important. It
should be remembered that
the building is seen by re-
tlectcd light, and. while a
smoiith surface m;iv reflect
the b^;lu from the sk\ to
advantage, at the s;ime time
it would act as a mirror to throw the rising li^ht from
floodlights to the sky instead of ba^;k to the observer's
eyes.

fAN \VI\ I'^L IHC (NTIBNAriONAI.

iiiiHi' iiiMKNvii*N rN iK.irr. nv

HKI IKK LU.lt r.

vif;nr vrcw ui

'r rHKCArnoL ai WAiiii^».roN, hiiiuvin. i-i , 1 m, i.niHliNi.
■rrkcr- l.^bd oikix.. hik cuNifKHKNCK ii» Liwi i v hon o> a«m vvknth.

It IS Inspiring to read the articles by Mr. Ra\ morul
M. Huud and Mi. C^eorge L. Rapp in recent i«ue^ of

THE VNION TERMINALS BUILDING, CLEVELAND, OHIO. THt
ARCHITECTURAL DESIGN, ADMIRABLY SUITED TO FLOOD-
LIGHTING, IS SERVED DV 239 G-E UNITS OF VARIOUS IN-
TENSITIES. SO PLACED AS TO PRESERVE EVERY DETAIL OF

LIGHT AND SHADOW.

G-E SEARCHLIGHTS ARE USED TO PRODUCE THIS PLEASING
EFFECT OF LIGHT AND SHADOW ON THE LIBERTY MEMO-
RIAL AT KANSAS CITY, MO. THE UNITS A.RE CONCEALED
BEHIND THE CORNICES OF THE ADJACENT MEMORIAL

BUILDINGS.

The Architectural Forum. These men have used
floodlighting on buildings of their own design and ap-
preciate the possibilities in the correct use of high lights,
shadows, colors, and even motion, provided the structure
is designed for such effects. They predict "Architecture
of the Night" and fortunately, the modern American
skyscraper with its natural tendency toward vertical
lines and set-back construction is in line with this de-
velopment.

In designing floodlighting the character of the build-
ing as well as of the surroundings must be considered.
The classical public edifice demands simplicity in
lighting, and color would be out of place except as a

relief to shadows. The many cornices, capitals, and
applied ornamentations would be distorted by a rising
light. Best results are obtained when the light emanates
from a higher neighboring structure with about three-
fourths of the volume coming from the left of the
observer and one-fourth from the right to soften the
shadows cast bv the former.

—

One is impressed by the dominating height and mass
of the modern skyscraper. The architect has accom-
plished this largely with vertical lines which, when
high-lighted at night, further accentuate the effect.

Necessarily these towering facades must be illuminated
from below with high intensities fading toward the top.
Such lighting tends to exaggerate the height of the
structure, but it appears to best advantage when it can
be surmounted by a colored, or a much more intensely

illuminated, element. It is this element in the form of
a spire, tower, lantern, or dome, that is seen by the
greatest number of people and from the greatest dis-
tances. It is the jewel of the main structure and de-
serves lavish treatment and, fortunately, because of its
reduced area it can be given many times the light in-
tensity of the main structure at a relatively small in-
crease in over-all cost.

Long viewing distances call for high intensities and
white light. Red, orange, and amber lighted surfaces
have fairly good carr}ing power, and green may some-
times be used to advantage. Blues and purples, which
are so effective for stage lighting, can scarcely ever be
used for exterior lighting without excessive cost except
in very small areas or where there is no complication
from other light sources. This is due, largely, to the
high absorption of blue or purple screening media
which usually exceeds 95 per cent.

The relative wattages required for the different colors
for equivalent effects depend on local conditions, the
nature of the surroundings, and the texture and color
of the surface to be illuminated. They may vary as
much as five to one between white and colored light
on a light surface and again there may be no difference,
as in the case of the illumination of a red brick build-
ing. Red brick reflects mostly red light, so it matters
very little whether all other colors are screened out at
the floodlight door or by absorption at the brick itself.
The former method is preferred, because the impurities,
lime and mortar stains, etc., are usually accentuated
by white light, and the added brightness of these re-
flections overpowers the dimmer red rays. The engineer
takes into consideration the reflection coefficients, tex-
tures, and colors of the surfaces to be illuminated.

In the abbreviated scope of this article, only sufficient
high lights have been touched to excite an interest in the
subject of floodlighting and point out the functions as
well as the need for coordination of the work of the
architect and the illuminating engineer.

(Tvy^r;)

GENERAL ELECTRIC COMPANY.

GENERAL OFFICE

SCHENECTADY, N. Y.

Sales Offices — Address nearest Office

Akron. Ohio 159 South Main Street

Amanllo. Tex 806 South Grant Street

Atlanta. Ga 187 SpritK;; Street, Northwest

Baltimnrc. Md 39 West Lexington Street

Binghamton. N. Y ..19 Chenango Street

Birmingham. Ala 603 North Eighteenth Street

Bluefield, W. Va 307 Federal Street

Boston. Mass 84 State Street

Buffalo N. Y 39 East Genesee Street

Butte, Mont 20 West Granite Street

Canton, Ohio 700 Tuscarawas Street, West

Charleston WVa 30 J Capitol Street

Charlotte. N. C 200 Smith Tryon Street

ChattanooRa. Tenn ,536 Market Street

Chicago, in 230 Smith Clark Street

Cincinnati. Ohio 215 West ThinI Street

Cleveland. Ohio <)2.5 Euclid Avenue

Columbus. Ohio .17 South Hi^h Street

Dallas. Tex laoi \nrth Lamar Street

Davenport. Iowa m East Third Sti-eet

Day tun, Ohio 25 North Main Street

Drnvcr, Colo G-W Seventeenth Street

Des Momes. Iowa 41S West Sixth Avenue

Detroit, Mich.. 700 Antoinette Street

Duluth, Minn , 14 West Superior Street

El Paso, lex 109 North Oregon Street

Erie. Pa 10 East Twelfth Street

Fort Wayne, Ind l^>.^'i Broadway

Fort Worth. Tex 410 Wpst Seventh Street

Grand Rapids. Mich 148 Monroe Avenue

Hartford, Conn \h Asylum Street

Houston, lex |016 Walker Avenue

Indianap.ihs, Ind 110 North Illinois Street

Jackson. Mich L'lJ Michigan Avenue, West

Jacksonrille, Fla ] I East Forsyth Street

Kansas City, Mo 1004 Baltimore Avenue

Knoxvilic. T;?nn 602 South Gay Street

Little Rock, Ark . ,22;j West Second Street

Los Anrc-lea, Calif .5201 Santa Pe Avenue

Louisville. Ky 455 South Fourth Street

Canada: Canadian General Electric Company, Ltd. Toronto

Motor Dealers and Lamp Agencies in all large cities and towns

SERVICE srrops

Atlanta, Ga 496 Glenn Street, Southwest

BufTalo, N Y ril.S Urban Street

Chicago. Ill 50P East Illinois Street

Cincinnati. Ohio 215 West Third Street

Cleveland. Ohio li;j.3 East I52nd Street

Dallas. Tex 1801 North Lamar Street

Detroit, Mich 700 Antoinette Street

Kansas City. Mo 819 East Nineteenth Street

Memphis. Tenn 130 Madison Avenue

Miami. Fla 25 Southeast Second Avenue

Milwaukte. Wis 4L?5 East Water Street

Minneapolis, Minn 107 South Fifth Street

Nashville. Tenn 234 Third Avenue. North

Newark. N.J 20 Washington Place

New Haven, Conn 129 Church Street

New Orleans. La. . 837 Gravier Street

New York. N. Y 120 Broadway

Niagara FalU. N. Y 201 Falls Street

Oklahoma Cily. Okla 15 North Robinson Street

Omaha, Nehr 409 South Se\'entcpnth Street

Philadelphia. Pa 1321 W'alnut Street

Plioem.x, Ariz 11 West Jefferson Street

Pittsburgh, Pa ,535 Smithfield Street

Portland, Greg 329 Alder Street

Providen<^e, R. 1 76 Westminster Street

Richm.ind. Va 700 East Franklin Street

Roanoke, Va 202 South Jefferson Street

Rochester, N, Y 89 East Avenue

St. Louis. Mo 112 North Fourth Street

Salt Lake Citv, Utah 200 Sooth Main Street

San Antonio. Tex 201 Villita Street

San Francisco. Calif 235 Montgomery Street

Schenectady, N. Y 1 River Road

Seattle. Wash SI 1 First Avenue

Spokane, Wash . .421 Riverside Avenue

Kprinnfiold. Ill 504 East Monroe Street

Springfield. Mass 13K7 Main Street

Syracuse. N. Y 113 South Salina Street

Tacoma, Wash 1019 Pacific Avenue

Tampa. Fla 112 Cas.s Street

Terre Haute. Ind .701 Wahash Avenue

Toledo, Ohio 520 Madison Avenue

Tulsa, Okla 409 Sonlh Boston Street

Utica. N. Y 258 Genesee Street

Washington, D. C , .1405 G Street. Northwest

Waterliury, Conn 195 Grand vStreet

Worcester, Mass ,340 Main Street

Youngstown, Ohio 16 Central Square

Hawaii: W. A. Ramsay, Ltd.. Honolulu

Los Angeles, Calif 520.'i Santa Fe Avenue

Minneapolis. Minn 410 Third Avenue, North

New York. N. Y 416 West Thirteenth Street

Philadelphia. Pa 429 North Seventh Street

Pittsburgh. Pa 16 Terminal Way

St. Louis. Mo 1009 Spruce Street

Salt Lake City, Utah .360 West Second South Street

Seattle. 'Wash I50K Fourth Avenue. South

opeciai service .iivisions are also maintamei at the following works of the Companv: Erie. Pa.- Ft. Wayne. Ind.;
Oakland, Oalit.; Pittslield. Mass.; Schenectady, N. Y.; an i West Lynn, Mass.— River Works and West Lynn Works.

WGY. Schenectady, N. Y.

BROADCASTING STATIONS
KOA. Denver. Colo.

KGO. Oakland. Calif.

Distributors for the General Electric Company outside of the United States and Canada
INTERNATIONAL GENERAL ELECTRIC COMPANY, INC.
New York City, 120 Broadway Oencfal Sales Offices. Sch.nectady. N. Y.

FOREIGN OFFICES, ASSOCIATED COMPANIES AND AGENTS
Argentina: General Electric. S. A., Buenos Aires, Cordoba. Rosario dc Santa Fe. Tucuman. and Mendnza
Austr.alia: Australian General Electric Company. Ltd.. Sydney. Melbourne, Adelaide, Brisbane, Newcastle, Rockhamo-

ton, Mattra, CalaC, TownsviUe. Canberra. Alborry. and Lismore . . t-

Belgium and Colomies: Societe d' Elcctricite et de Mecanique (Procedes Thomson-Houston & Cards)

bocicte Anonyme. Brussels. Belgium
Brazil: General Electric. S- A,, Rio dc Janeiro, Sao Paulo, Bahia, Portn Ale^re. Bello Horizonie. Jui? de Fnra. and Recife
Uenthal AMtiRicA: International General Electric Co.. Inc., Panama City. Panama; Guatem

Orleans, La.

■mala City. Guatemala: New

Chilk: International Machinery Company Santiago. Antofagasta and Valparaiso. Nitrate Agencies. Ltd., Iquiquc

China: Andersen. Meyer & Companv. Ltd.. Shanghai; China General Edison Company. Shanghai •■ ^ ^

Colombia: Internatnnal (Tcneral Electric. S. A.. Barranquilla. Bogota. MedeUin. and Call

Cuba; General Electric Companv of Cuba. Havana, and Santiago de Cuba

Ecuador: Guayaquil Agencies Co., Guayaquil

Egypt: British Thomson-Houston Company, Ltd., Cairo

France and Colonibs: Compagnie Francaise Thomson-Houston. Paris; International General Electric Co,, Inc.. Paris'
Lompagnie Des Lampes. Pans '

GerMANV: H- B. Peirce, Representative. General Electric Co.. Berlin

Great Britain amd Irklamp: Internationa] General Electric Co.. Inc.. British Thomson-Houston Co.. Ltd.. London. W. C.2;
tiritisn t homson-nouston Co.. Ltd.. Rugby.

Greeci; ani> Coloniics: Compagnie Francaise Thomson- Houston. Paris. France

Holland: Mijnssen & Co., Amsterdam

India: International General Electric Company, Inc.. Calcutta. Bombay and Bangalore

Italy amp Colonies: Compagnia Gcnerale Di Elettricita. Milan

Japan: Shibaura Engineering Works. Tok-v-,; Tokyo Electric Company. Ltd., Kawasaki. Kanagawa- Ken ; International
ijenerat blectnc Co., Inc.. Tokyo and Osaka

Java; rnternational General Electric Co., Inc.. Soerabaia

Mexico: General Electric. S. A.. City of Mexico. Guadalajara. Monterrey. Vera Cruz and El Pa^n Texas

Df„^^,,-,^^i''^n"" ^^tional Electrical and Engineering Company, Ltd., Auckland, Dunedin, Christchurch and WcUin;

Faragi AV: treneral Electric. S. A.. Buenos Aires, Argentina

Peru: W. R. Grace & Company. Lima

Philippink IsLAvns: Pacific Commercial Companv. Manila; International General Electric Co. I

I ORTO Rico; International General Electric Company of Porto Rico San Juan

Portugal ANP Colonies; Snciedade Iberica de Construcoes Electricas Lda. Li'^hon

South Africa: South African General Electric Company. Ltd.. Johannesburg. Capetown. Dnrban. and Porl

Spain and Colonirs: Sociedad Ihenca de Const rucci ones Electricas, Madrid, Barcelona, Bilbao. Valladolid

tiwiTzERLANn: IroHict Freres. Gene\-a

UgurUAY: General Electric. S. A.. Montevideo

■VENE2UELA; General Electric. S. A., Caracas and Maracaibo

igton

nc, Manila

rt Elizabeth
and Se villa

February. 1930 C6M)

.1 H

GED-375

■ I

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