Shine of the Times

It’s early 2025 and most of us watched the Times Square ball drop on New Year’s Eve. In a mere 60 seconds, the orb descends, and revelers from around the world ring in another year, whether they are in Manhattan watching in person or one of millions viewing from the comfort of their homes via a screen.

The dazzling ball is an iconic American symbol for people around the world, but once it drops and the festivities are over, they don’t give it another thought for 365 days. For New York-based Focus Lighting, however, the beacon is literally a shining example of the work that they do. In 2007, the team was tasked with the redesign of the sphere for its centennial—hardly a basic task given the piece’s cultural significance. “It was definitely a once-in-a-lifetime project,” said Christine Hope, principal designer at Focus Lighting.

The iconic Times Square ball, redesigned by Focus Lighting. Photos courtesy of Focus Lighting

The key was to not only make the ball brighter, but to also produce an impactful experience for three distinct audiences. Hope began with an examination of the physical components, from the bulbs to the casing. While adequate, these elements needed to be modernized in keeping with the latest technology and styling. “There was a core of lightbulbs around a pole with a round form over it,” she explained. “The lighting was very soft, and you couldn’t tell if the material was glass or plastic. It was just a translucent ball.”

The geodesic sphere is covered with 2,688 Waterford triangles, with specific patterns developed annually by the luxury glassware maker, which complement ornaments and other products sold by retailers including Macy’s.

A close-up of the facets that are on the front and back of each piece of crystal.

But it was difficult to perceive the quality of the crystal because the intricate cuts were only on the front. Facets were added to the back surfaces for a boost of luminosity. Mirror baffles were also introduced between the crystal triangles, creating reflective chambers that multiply the light within the ball. The press contingent, who has a five-foot view when they are standing next to the ball, can see the unique detail. “There’s so much more sparkle and dimensionality,” Hope noted. “It’s like jewelry in your hand.”

The switch from incandescent bulbs to Philips Luxeon technology was critical because they are energy-efficient and provide significantly higher brightness levels. With over 32,000 lights, the ball is more visible from greater distances, like the 500-foot view that the people who are standing in Times Square have. Each piece has 16 LED diodes, which changes the illumination. “Instead of a shell of crystal with a glowing core, the whole thing became almost like a pixel map screen,” Hope added. “We were able to isolate each little triangle and then make all of these intricate, lacy patterns.”

The sphere is covered with 2,688 Waterford crystals for maximum sparkle.

LED programming allows for precise color mixing—versus a wash of a single color—enabling seamless transitions and vibrant patterns that are visually engaging. Complete light shows with endless combinations of motifs, rather than brief flashes, are ideal for the television audience, who have a 50-foot view of the ball.

The show, Hope explained, begins at 6 pm and continues until midnight, divided into multiple hour-long segments. She scripted a series of mini stories that pay homage to everything from nature to gemstones. At 8 pm for instance, the International Celebration is on view, and by 10 pm, the Four Seasons of Change is displayed.

A range of colors create prismatic effects on the surface of the crystal.

There have been some tweaks to the sequence since it debuted. In 2008, on the heels of the success of the previous transformation, an even larger orb was introduced, doubled in size from six feet in diameter to 12 feet. Images were reworked and scaled up to fit on the larger surface. And once again, a new iteration of the ball will be unveiled this year. It will have a completely different design and be much more digitally interactive.

Hope looks forward to seeing what’s next, happy to have played an important role in the evolution of this special globe. “It’s instantly recognizable and ingrained in our culture,” she said. “I am honored to be a small part of it all.”

The finished LED, mirror baffle, and crystal assembly.
Still images displaying scenes of the various light shows.