When a building is rich in detail and history, repurposing it is as much a challenge as it is a labor of love. If this building also happens to be a graceful former Willoughby, Ohio mansion that aspires to be not only a premium inn, but also a fine dining destination for both east and west side Clevelanders, the stakes climb rapidly. Brothers Paul and Mike Nuendorfer purchased the VanGorder mansion knowing each possessed skill sets that would make them equal to the task of creating Willoughby House, and a restaurant, Julia’s 1902. Paul, a talented Landscape Architect and principal of Aristotle Design Group, also was the owner of the former Felice, a popular Larchmere restaurant. He brought along Chef Jose Coronado. Mike Nuendorfer, an engineer, entrepreneur, and CEO of Advanced RV, a builder of luxury Class B Mercedes Benz motorhomes, understood quality interior craftsmanship.

The brothers teamed with an architect, an interior designer, an electrical engineer, and finally, Ron Friedman Lighting Design. The results proved to be nothing short of gratifying. The interior is elegant, eclectic, and above all, comfortable. As for lighting, the designer made some extraordinary selections that needed only re-lamping with the right warm, high color-rendering sources (proving once again that a lighting designer’s job is to listen, respond, and sometimes just get out of the way).

A sprinkling of accent lights were added to feature wall art. The bar was built with shelves fabricated to allow bottles to glow from beneath. Existing architectural ledges were fitted with 2400 Kelvin lighting channels wherever possible.

Ron Friedman Lighting Design wishes to thank Paul, Mike, and Troy Valentik for their creativity, attentiveness, and collaboration. Thanks also to Rick Quinlan, President, Epic Engineering Group, LLC for his usual enthusiastic partnership.  And that picture of Mike in the bathtub?

He said he’s good with it.

Lisa Moran LTD has long been Cleveland’s premier boutique for stylish American and European designer clothing Collections, featuring everything from casual outfits to mother of the bride or groom dresses, to cocktail dresses, and more. And as any leading merchandiser can tell you, no matter how successful you are, from time to time, a store needs a fresh look. For hers, Lisa Moran wisely chose lighting as her first and best investment, engaging Ron Friedman Lighting Design to craft a solution. The problem? The store was not lacking for light. In fact, there was a surfeit of it, much of it in the wrong places: the floor, for one. The previous lighting design was uniform and lacking in focus. Dated track lights and recessed downlights—lots of them—had been relamped with a crazy-quilt of sources none of which were worthy of the merchandise they were meant to enhance.

The new lighting plan called for the removal of almost all the existing downlights, save those that were built into soffits above shelves. By tamping down the circulation areas, it then became easy for light to make a new statement apropos the clothing’s cut, the vibrant color, the texture, and the sheer elegance that had been there all along. Ron Friedman Lighting Design would like to thank Lisa Moran, Susan Frankel, P.E., Parke Brothers Construction, LLC, and Tom, Dan, and James of Spartan Electrical Contractors.

Why is this priest smiling? From the moment Father Ryan Mann met Ron Friedman they began to craft a common and enthusiastic vision for the relighting of St. Basil the Great. Father Ryan, a former musician and standup comedian, understood the power of good lighting. He wanted higher levels of light for a parish with a median age of 60 years old. He also wanted to create lighting scenes for different worship services, as well as a subdued but contemplative mood for times between services. At 7 footcandles, the existing fluorescent lighting was not only dreary and uninspiring. It also failed to accentuate the altar, the lectern, statuary, and Stations of the Cross. Moreover, the dramatic, contemporary mid-century architecture with its tall ceilings and exposed beams, was mostly in darkness. The lighting solution features diminutive but powerful direct/indirect cylinders for general lighting designed for a benchmark level of 40 FC. Stations of the Cross were highlighted with low-wattage narrow beam accents. A battery of long-throw accent lights was installed for the Altar, Lectern, Cross, Tabernacle, and Statuary. And finally, the tall, contoured walls were fitted with a narrow beam cove light that rakes the brick and mortar up to the ceiling line. The color palette is 2700, with a minimum Color Rendering Index of 90+. A lighting control system offers as many preset scenes as could be imagined.

Father Ryan isn’t the only one smiling. The parishioners are able to read the hymnals easily for the first time in years. With no other cosmetic changes, the church has a reinvigorated feel to it, and all due to lighting.

Ron Friedman Lighting Design would like to thank Father Ryan Mann, Chris O’Brien and Ken Laidman of Penn-Ohio Electric, Joe Zielinski, and Rick Coberly of Lighting Dynamics.

Radiant Bride, Rocky River’s premier bridal boutique, offers brides and their families a comfortable, soothing, and elegant venue to find the perfect gown. The vibe of the space, as designed by owners Scott and Ellen McFadden, is meant to be hospitable and intimate. To that end, they employed The Arcus Group to help them envision their new location on Detroit Road. The new space featured bridal rooms upstairs and down, as well as a two-story main showroom. The height of the space, while providing undeniable drama, also offered certain challenges in merchandising. Ron Friedman Lighting Design was engaged to collaborate with the design team and owners to provide a lighting scheme worthy of the stunning dresses that sparkle on the racks.

Fairmount Presbyterian Church had a beautiful interior, replete with carved wood, an ornate altar, lectern, and a colorful fabric awning and backdrop to the cross. It also featured a soaring, red tapestry ceiling. All of this, however, was nearly impossible to prove in the dark.

Ron Friedman Lighting Design was asked to remedy this with new lighting. Given the good guidance of a committee consisting of Steve Bennett, Tim Harren-Lewis, and Miesha Headen, an accurate lighting model provided inspiration for the investment. Lighting was installed and laser-aimed by Penn-Ohio’s Ken and Gary Laidman. Pastors Ryan Wallace and Lindsay Harren-Lewis were, to say the least, pleased. Said Lewis upon seeing the lighting for the first time, “It’s so beautiful I could cry.”

When Juicy Lucy, a upscale women’s clothing store in picturesque Chagrin Falls, Ohio, began to contemplate its move to a new location, owners Cindi and Harry Hawkes had already endured the discomfort of a poorly illuminated store. They knew that their brand deserved better.

Collaborating with Ron Friedman Lighting Design gave them the edge they were looking for. Their luxurious, mostly wall-hung merchandise called for a raking lighting treatment from steep angles that would feature textures. An open joist ceiling permitted them the height and space needed for such a task. That, combined with accurate targeting on vignettes and mannequins, now offers the cachet becoming of their prestige labels.

This iconic mixed-use art deco skyscraper in downtown Oklahoma City, built in in 1931, has 33 floors and an overall height of 446 feet. Ron Friedman Lighting Design was hired to illuminate the top feature floors, roof cap, and spire.

The project is almost complete, with some minor aiming adjustments to be made. Over 25 different color schemes have been programmed for holidays, a daily show, and the Oklahoma Thunder basketball team. The building was modeled in 3d with all luminaires placed and aimed prior to electrical construction.

Olympic Forest Products moved their headquarters and repurposed this historic church inside and out. The exterior onion domes were a particular challenge, as the only opportunity to illuminate them was with narrow-beam luminaries on poles that were quite a distance (up to 150’) away.

This upscale restaurant on Cleveland’s east side uses lighting to entice people to drink, to dine, and to lounge. Ron Friedman collaborated with architect Bob Bajko of HSB Architects to create details for hidden light in coves, toe kicks, behind booths, and under bottle shelves. The result is an elegant, intimate venue for fine food, cocktails, and conversation. Thanks to Ullman Electric for an attentive installation.

The Cleveland Wade VA Campus and its surround was so dark that the only way to know anyone was sitting outside was by seeing the glowing ends of cigarettes. All that was remedied by FF&H Engineers with Ron Friedman Lighting Design. Pedestrian walkways, underpasses, flagpoles, wayfinding signage, and facades were illuminated by 3K LED luminaires. In addition, sail sculptures at Cares Tower were given new life by RGBA narrow floods.



The difference is night and day.

This dusk shot from Perspectus Architecture’s award winning CDC East building features subtle illumination of signage, canopy, horizontal building louvers at all facades, and logos.

Photographer: Scott Pease
Architect: Perspectus Architecture

This food court is part of an Andretti indoor go-cart track. Lighting adds sizzle and color, featuring banners and trees, as well as drawing patrons to concessions and food trucks.

The renowned architect Phillip Johnson created this sculpture for the Case-Western Reserve campus. Now relocated to the East Bell Commons, the sculpture was newly illuminated. Ron Friedman collaborated with Tom Morgan, Principal of Harrington Electric. Programming was executed by Taine Gilliam of Vincent Lighting. Thanks, Kathy Barrie.

The UCI East Building, a sedate five-storey brick structure in the burgeoning University Circle neighborhood, stands at the confluence of Mayfield Rd. and Euclid Avenue, between Cleveland's Little Italy and University Hospitals. Facing the campus of Case-Western Reserve University, it houses student apartments, ground floor retail, restaurants, and UCI's own Visitors Center.

But according to UCI's VP of Planning & Real Estate, Debbie Berry, and Planning Manager Elise Yablonsky, it was lacking one thing: a vibrant night-time presence to keep pace with the rapid development of the Uptown neighborhood it now occupies.

Although they knew what they wanted to accomplish, they also realized they did not quite know how to get there. For a solution they turned to Ron Friedman of Art & Science Lighting Design.

The project was not simple. There was no landscape bed around the building; only sidewalk. In a busy pedestrian area, light poles were out of the question.

How do you graze a long, curved brick building with limestone ledges, a deep pediment, and a fair number of randomly placed unit air-conditioners? How do you it without building penetrations, using luminaires that must be mounted at the first floor level, sharing a small space with a sign band and some bird's nests.

How do you do this in a way that creates maximum impact and reasonable uniformity, with minimal projection from the building, making the entire project look as if has always been there?

How do you do it on schedule, in the middle of an unpredictable Cleveland winter?

Several computer models, renderings, meetings, and mockups later, the scheme was finished. It consisted of shrouded RGBW uplights, warm white cylinder downlights at the street level, and linear grazers at the three triangular pediments.

Many thanks to Chris Ronayne, Debbie Berry, and Elise Yablonsky of University Circle Inc for their vision, enthusiasm, and collaboration; also to Tom Morgan, Brian Robinette, and Scott Cline of Harrington Electric for patient, intelligent, meticulous craftsmanship

Architect: Art & Science Lighting Design
Photographer: Emily Metzger/Downie Photography:http://www.downiephoto.net/emdp

Toronto-based landscape designer Virginia Burt designed this tranquil healing garden that features a labyrinth and fountain. Ron Friedman collaborated with her to produce an illuminated surround wall that scrolls the colors of the chakra, representing points of spiritual energy in the body.

Architect: Virginia Burt
Photographer: Brad Feinknopf

This vintage 1956 building had original lighting throughout. All lighting was replaced with 2700 Kelvin LED luminaires and all original apertures were used. Luminaires used were 30x60 grazers, 10x60 grazers, 8 degree spots, and 12,000 lumen downlights. A large available attic space permitted installation from above. 

The result was a dramatic increase in light output and accent, with equally significant power reduction. Lighting controls were replaced to create scenes for varying church activities.

Art & Science Lighting Design wishes to thank Rick Kranek and Tom Morgan of Harrington Electric, Sister Kathleen, Father Snow, and the Gesu Church Committee. 

Milan, do you believe me now?

Architect: Steve Taylor and Milan Bender

The twin silos of the Essroc cement plant on Dock 20 at the mouth of the Cuyahoga River have long been Cleveland waterfront icons. In 2016, The Port of Cleveland decided that these 150 foot tall twins, admittedly drab by day, would benefit from some nighttime enhancement.

Photographer: Scott Pease

www.peasephotography.com

This new project involved the attachment of two existing buildings. Lighting solved the challenge presented by an all-glass building by raking existing interior and exterior stone walls, as well as using umbrella trusses to flood the building with uplight and downlight. The result is a powerful and inviting nighttime street presence.

Architect: Collins, Gordon, Bostwick

UT Ayers Hall - Knoxville, TN Ayers Hall is the anchor building at the University of Tennessee in Knoxville. Art & Science Lghting Design was chosen from a field of 25 candidates to illuminate the central clock tower of this dignified historical brick building.

Architects Weeks, Ambrose, McDonald, in partnership with Ross/Fowler Architects guided the lighting concept and mission, which was to bring new identification to the landmark tower, and to venerate its charm and power as an enduring symbol of the historic legacy of the University of Tennessee.

Art & Science turned to Bialosky & Partners Architects for assistance in creating a 3-D version of the building, which enabled lighting fixture placement and calculations on North, South, East, and West faces. Bialosky & Partners finished the building in Studio Max using IES format photometry. The results were as accurate as they were stunning.

Low-wattage ceramic arc metal halide 3K luminaires with narrow beams of light stick to the tower, without spill light or tresspass into the night sky. The campus observatory, located across the quad from Ayres Hall, paid close attention to the project, and in the end, found the results satisfying. The newly sandblasted brick glows. Inside the belfry, 4K vertical floods illuminate the arches.

All fixtures are accessible without ladders.

Ayers Tower is now a striking night-time presence on the campus. Sitting on a promontory above Knoxville, it is also an addition to the Knoxville skyline.

Art & Science wishes to thank architects Bill Ambrose, Brian McDonald, Andy Powers, and Charlie Fowler for their guidance, Aaron Love for his cooperation in Electrical Engineering, and Massey Electric for their patience and throrough work in the mock-up and installation of this project. Thanks also to Lori Wilson, and all UT personnel who helped make this project a success. And thanks to Kathy Anen for her invaluable assistance

Architect: Architects Weeks, Ambrose, McDonald

Photographer: Lewis Pro Photo

When this vintage 1928 Cleveland  landmark skyscraper was undergoing extensive facade rennovation, the owners, Forest City Corporation, decided it was time for a lighting change as well. For decades, building electricians had hazarded rooftops and ledges in order to change high-pressure sodium lamps and holiday color media. To investigate available lighting technologies, Forest City turned to Zenith Systems' David Lupica and Color Kinetics' local representative Greg Shick. Art & Science Lighting Design was employed to conceptualize and prove a lighting theme. Art & Science teamed with Bialosky & Partners Architects to create a     3-D model of the building from flat drawing and photographs. Art & Science then placed and aimed over 500 luminaires in AGI32 lighting software to explore options. The rendering was exported to AutoCAD and rebuilt in Studio Max to create a color changing, animated, film, complete with soundtrack (available in "Models" section of this website). Site mockups helped dial in the final design.The project was installed in 09. The Terminal Tower  glows at night with elegant color changes, holiday, and event schemes. Maintenance and power usage have been significantly reduced.

This children's floor is cheerily rendered by the use of contemporary downlights which provide brightness. Sconces provide decorative accents along with the illumination of artwork.

Architect: Milan Bender & Associates

Photographer: Ron Friedman

This lobby, formerly a passageway so dark as to almost be foreboding, has been transformed into a tall, sleek, bright architectural space which both invites visitors and conducts them to to other hospital locations.  Pendant downlights illuminate furniture groups with pools of 3000 Kelvin light.  Recessed downlights illuminate columns, floors, and walls.  Concealed uplight brings emphasis to the skylight.  Patients, visitors, and hospital staff have both noticed and appreciated the change.

Architect: Milan Bender & Associates

Photographer: Milan Bender

Fabric banners draped between concrete ceiling joists conceal narrow-beam RGB LED luminaires that are cross-aimed at each side of the room. The result is an elegant glow with soft color changes. An IIDA National Merit Award winner.

Architect: Paul Taylor, Bialosky and Partners

Cleveland’s historic May Company building is in the process of renovation by Geis Construction. Ullman Electric’s Phil Soroke collaborated with Ron Friedman to produce this new facade lighting scheme. So far, so good.

This upscale suburban mall is featured by lighting amenities that include decorative parking lot poles, sconces, pedestrian walk lights, and in-ground tree lights. Storefronts are grazed by concealed uplights at pilasters. Canopies are punched by arm-mount RLM's. Windows are backlit, and entry towers are highlighted by narrow-beam accents that are mounted to parking lot poles and rooftops. The result is a warm and vivid invitation to this unique shopping experience.  IIDA Regional Award of Merit, 2005.

Architect: Bialosky & Partners Architects

Photographer: Ron Friedman

In the rededication ceremony for this church, Bishop Anthony Pilla noted that light had made a significant contribution to the project. Added uplight to the beamed coffered ceiling and coves lift this ceiling. Downlights bring much needed brightness to the pews. Statuary and stations of the cross are prominently featured.

This church relighting highlights artwork and ceilings previously invisible to worshippers, as well as a rework of original lighting fixtures to both restore their historical character and augment their function.

This crucifix was created in wood and glass by Eikona Studios.  Backlighting floats the structure, and keylighting strikes the figure.  Concealed low-voltage projector lamps spray rays of light from the center.

Photographer: Nick Loya

This ornate architecture is transformed by concealed uplights at vault ribs. Artwork, statuary, and shrines are illuminated by well-targeted concealed accents.

Photographer: Ron Friedman

This relighting scheme involved the construction of valences which illuminate the architectural ceiling, stained glass windows, and Stations of the Cross. New accent lighting brings added focus to the Altar.  Upon seeing the completed project, Father Lawrence Bayer commented, "We asked for new lighting.  We got a new church."

Photographer: Ron Friedman

This large church makes use of dimmable indirect lighting in an arched ceiling. Architectural lighting batteries illuminate the aisles. Narrow beam accents define Stations of the Cross. An adjacent small chapel is made intimate by indirect lighting concealed behind pews, as well as cove lighting in a domed ceiling feature. Narrow beam spotlights feature a center sculptural icon.

Architect: Milan Bender & Associates

Photographer: Milan Bender

This Slovenian inner city parish employed Vatican artists to add ceiling murals and portraits of saints.  Illumination of architecture, shrines, and artwork fulfilled Father Joseph Boznar's vision of the refurbished church.

Photographer: Ron Friedman

Narrow-beam luminaries concealed in shrouds just above eye-level subtly, almost mysteriously reinforce hand-painted Greek Orthodox iconography of saints and angels, and a center Pandokratora.

Architect: Michael Augoustidis Architects

Photographer: Ron Friedman

The restoration of this Cleveland Institution involves bringing new life to historic architecture, a sense of invitation to the lobby, reworking vintage lighting fixtures, and providing much needed ambient light to the dining room and the weekly televised City Club Forum.

Architect: Collins, Gordon, Bostwick

Photographer: William H. Webb (whwebb1@sbcglobal.net)

This exciting wood ceiling construction is highlighted by custom fixtures, which use Italian glass for decoration while providing uplight and concealed downlight to texture the tables and floor below.

Architect: Bialosky & Partners

Photographer: William H. Webb (whwebb1@sbcglobal.net)