A glowing villa would set the tone for what is housed within. The entire project was illuminated with a single custom uplight from Hydrel. Each uplight was manufactured with the junction box on the bottom so not add any additional visual clutter to the floor. They were recessed into a floor covered in 1/2"x1/2" taupe colored tile. The cover plate was cast aluminum 12"x12" in a square with an eight inch diameter opening to coddle a heavy molded piece of borosilicate made to fit flush with plate and floor tile. The glass was selected for its excellent thermal properties and extremely low expansion. It also has exceptional crystal clear clarity. The fixtures housed a krypton gas filled PAR 38 SPOT from GE Lamps on an adjustable swing arm. GE Lamps were chosen because of the single rolled bullnose edge design the lens has were it connects to the parabolic glass sides. Others fix the lens to the edge creating two rolled edges and a crease. These edges capture and project the light and create more than one artifact prarabola caused by the lens edge and the way it is attached. This creates distracting and multiple visual parabolas being projected on the the walls and ceilings. A single one is problematic, having multiple ones with so many fixture being used becomes overwhelmingly distracting. The fixture housing was also designed to be 12" deep keeping the top of the lamp recess 4" below the glass. The swing arm also contained a custom gimbal ring that allowed for both a lens and an internal louver to be mounted just above the lamp face. The louver was a custom black color in a custom large cell egg crate design of 1/2"x1/2"x1/2" size. The entire interior of this uplight was custom painted so that all parts were powder coated with Paxton Matte Black, named for the client who helped perfect the exact black color. The color was tested and fabricated multiple times before the results were finally achieved. It was to be an exceptionally matte black that did not reflect in the slightst way any light or light source. It was supposed to be void of reflectance. The larger size of the uplight was selected over other choices because the lighting designer wanted to illuminate the 24" wide columns and pilasters through out the project. Smaller lamps and fixtures came out of the floor with a steep reverse parabola grazing the architecture. The depth of the custom fixture was dictated by the desire to have the narrow portion of the parabola effect occur inside the fixture before it even was viewable. The beam emitted from the fixture came out almost as fat as the columns were wide. The fixture was positioned a half inch from the vertical walls to keep the center beam six inches away. This helped perfectly graze the wall surface as well as control up light glare. The louvers were exactly the size of the floor tile so there was a consistency to the floor grid even within the light fixtures. The position of the lamp and the 45° cutoff of the louver kept the visual cutoff at around 20° where people would be standing. You really have to hold your head near the wall and look down into the fixtures in order to see the source. Everything was also dimmed with multiple presets for the clients command and a preprogrammed fade that started at dusk and continually reduced itself as the night progressed into early morning. The entire building would be bathed in a soft candle like glow of 10% from 2 am until sunrise with on the hour 2 minute fades from 80% brightness. Photo: Robert Cook