Stacy_Brian_IALD_Professional_Member_Application_Slides

Professional Portfolio Review

Project 1

Project / Client: Nasher Sculpture CenterDallas, Texas

Architect: Renzo Piano Building Workshop (Design)Beck Architecture (Executive)

Applicant’s Role: Senior Designer / Project Manager

-IALD Citation for Daylighting – 21st annual awards.


This Project won an IALD citation for Passive Daylighting at the 21st

Annual Awards Ceremony.

Museums have been seen for years as having energy hungry lighting systems. The Nasher Sculpture Center was not the case; daylight was chosen to provide the key light within the galleries.

The gallery spaces use less than 0.3 watts / square foot during the day and 3.2 watts / square foot at night during the open hours. The rest of the facility uses 0.9 watts / square foot, compared to the allowable code limit of 1.6 watts / square foot.

To achieve this, the museum utilizes daylight for the lighting of the majority of the ground floor, in particularly the gallery spaces. The sunscreening for the roof was designed to block out all the direct sun. This was significant in reducing the thermal gains usually associated with daylighting systems for museums. Given the location of the museum in downtown Dallas, Texas, the thermal concerns were significant.

Nasher Sculpture Center, Dallas, Texas - Overview


Nasher Sculpture Center, Dallas, Texas - Overview

The electric lighting control system operates the entire building using time-clock features. During the day, a large portion of the exhibit lighting is programmed to be off as the daylight provides sufficient quantity and quality of light for the sculptures. Over-ride and programming controls are provided throughout the facility for a variety of normal and after hour operations.

Throughout the facility, there is one main type of lamp for the public spaces and exhibition galleries. This lamp is an Infra-Red Conserving (IRC) MR-16. In the back-of-house, only T-5 high output and single wattage compact fluorescent lamps were utilized. Using only three low-cost, small package lamp types ease building cost overheads and maintenance.


Nasher Sculpture Center Image 1 of 4

View from the gallery interior which maintains the visual connection to the exterior sculptures. The daylight penetration was designed to work with the sculptures which can withstand higher light levels. All glass in the building is low-iron to maintain high colour rendering, with UV-blocking interlayers. The daylight is supplemented when enough daylight is not present by the 2-circuit, track mounted MR-16 IRC customized track heads from iGuzzini. The electric lighting system is on an ETC lighting control system allowing for automatic control through scheduled program events for the entire building. Lighting control system programming connections are allowed in each gallery.



View from inside gallery looking through the highly integrated glass barrel vaulted ceiling, out through the customized sunscreen. Integrated into the glass mullions are 2-circuit tracks for wall-wash and object luminaries, each use has their own circuit. This creates a visually porous ceiling where the luminaires all have a resemblance.

A dummy track for security and audiovisual requirements was installed with security cameras and motion detectors integrated into the same luminaire bodies.



Detailed view of the exterior sunscreen that was designed to block out all direct sun throughout the year, and only let in a portion of the north light. This reduces the thermal load by not letting any direct solar radiation on the gallery glass ceiling, and allows for the automatic switching off of the electric lighting during the day.

The custom sunscreen was developed on site specific geometries, relating to the gallery cavity ratios. This restricts the amount of light entering the galleries.



View of the sunscreen facing south, on the roof. The opening and curvature of the sunscreen was optimized for solar position. The sunscreen was durable enough to walk upon since it was made from cast aluminum. Modularity in the design allowed for a repetitiveness across the whole iconic roof.


Evaluation Criteria - Nasher Sculpture Center

• Design Goals– Ray Nasher, the Owner, gave the design team the remit to build a

conditioned gallery building that was able to have a continuous view and connection through the facility, to the exterior sculpture garden.

– Create an iconic, yet subtle day-lit sculpture gallery space.

– Mitigate the extreme Texas solar environment for appropriate viewing conditions while saving energy and therefore money.


• Complexity of Project– The amount of visual connection to the exterior, from the glass walls and

the glass roof placed a large amount of thermal load from the Texas solar environment on the project. Further complicating the electric lighting design was the requirement to integrate the flexibility of an exhibit lighting system into a glass ceiling. All this while maintaining a comfortable viewing environment for the sculpture that met appropriate museum lighting conservation standards.



• Concept– The lighting design was able to incorporate a highly customized solar

screen, that became the iconic roof element for the project. The modularity of the screen design was able to set the rhythm for the electric lighting system.

– During low light conditions the lighting controls system automatically adjusts light levels in various zones.



• Harmony– The sunscreen design became the iconic roof, which also worked

in direct relationship with the mechanical (HVAC) design to dramatically reduce the heat gain on the glass ceiling / roof. A critical feature of this bespoke designed element was to allow a view out of the roof to the sky.

– In thinking about the lighting in direct relationship with the whole roof / ceiling make-up, it lead to a spacing of the exhibit track system, which in turn lead to setting the module for the glass ceiling panels, the glass mullions, and in turn the pattern of the stone walls.



• Inventiveness– The roof screen was developed specifically around the site specific

orientation and location, and balanced the technical needs of the building design, to mitigate the direct sun in the gallery. This has lead to a roof and ceiling make up that truly is one of a kind.

– This project also created a custom track system, with other building services incorporated into the design.



• Appropriateness– The design of the sunscreen, and the glass beneath it, which allows

daylight to pass through, maintains a high Colour Rendering Index for a good quality visual environment to view the sculpture and art.

– The 3-dimensional quality of the sunscreen helps mitigate the ceiling from becoming a glare source, and allows the art to take focus, in terms of illumination.



• Realization– Throughout the facility, there is one main type of lamp in the

public spaces and exhibition galleries, with a few beam spreads. This lamp is an Infra-Red Conserving (IRC) MR-16 allowing 4000 hours of lamp life, and high quality colour rendering for the visual tasks of viewing the art. In the back-of-house, only T-5 High Output and a single wattage Compact Fluorescent Lamps were utilized. Using only three low-cost, small package lamp types eases building overheads cost and maintenance.



Project 2

Project / Client: Institute of Contemporary ArtBoston, Massachusetts

Architect: Diller Scofidio + Renfro (Design)Perry Dean Rodgers (Executive)

Applicant’s Role: Lead Lighting Designer, Project Manager


The Institute of Contemporary Art in Boston gave the design team the remit to construct a new 62,000 square foot, four story museum to provide both a world-class exhibition space to showcase works by leading contemporary artists, and be a vibrant center for public performances, educational activities and waterfront access. The new museum has to have many different types of spaces including a theater, an education center, a retail store, a cafe, and a “Mediatheque”. The primary gallery space is located on the top level in what is referred to as the "Jewel Box."

Institute of Contemporary Art, Boston, Massachusetts - Overview



Daylighting in the gallery level is provided through continuous rows (totaling 1300 ft in length) of vertical glazing in a northlightconfiguration. The daylight enters through the northlights, into a light-loft, and passes through a diffusing ceiling to enter thegalleries. The 18,000 sq. ft. of completely open gallery can be separately controlled for areas as small as 12' x 12‘ through a motorized shade system. Further, the system features multiple stops to allow for variable light levels in the different part of the galleries.



The lighting is designed to fully complement the architecture of the building. Color temperature and light placement are being used to enhance contrasts between building materials and to highlight important building elements. For example, in the lobby, the pattern of linear fluorescents becomes a graphic element as you enter the facility, which carries from the interior through to the exterior.

Barriers between interior and exterior lighting break down when a building has as much glazing as the new ICA. Much of the interior is visible from the exterior and is thus an integral part of the exterior nighttime image.


Institute of Contemporary Art, Boston Image 1 of 8

It all starts with an idea, and this very early sketch outlines the key lighting ideas. The wood fold in the middle of the building differentiates the main lighting zones, each zone receives its own lighting scheme.

The cool box of the galleries sits on the warmth of the wood surfaced theatre, which is supported by the lobby, another cool zone. (see concept sketch upper right hand corner).



The cool/warm/cool idea was then worked through with the help of computer calculations and renderings.

The image on the right is a Radiance rendering to look at various distributions of in-grade uplight, exterior rain-screen backlighting, and pairs of 3000K ceramic metal-halide flood lights for the cantilever. These cantilever floodlights were buried inside bespoke subterranean housings beneath the boardwalk.



As one approaches the entry to the building, its form is highlighted with the glowing gallery rain-screen. This is in contrast with the 2nd floor theatre that levitates above the lobby and its sloped ceiling that is accentuated by the staggered pattern of customized high-efficiency, 28 watt T5 linear fluorescents. These carry the ceiling form from the interior of the lobby, to the exterior under-hangs, helping keep the visual flow of the ceiling surface. The linear fluorescents were customized for exterior salt air conditions and cold weather operation in such a manner that the interior and exterior luminaries looked identical. The ceiling is gently up-lit with adjustable in-grade luminaires integrated at the curtain wall for safety, for a gentle glow so the ceiling does not go dark. To create a demarcation, and provide an unobtrusive low level and fill at the boardwalk, in-grade recessed “floor grazers” were integrated into the wood decking and concrete sub-structure.


Institute of Contemporary Art, Boston Image 4 of 8Illuminating the under side of the iconic cantilever are pairs of 150 watt ceramic metal halide flood lights integrated into the boardwalk sub-structure. These luminaires are outfitted with glare hoods, and recessed in deep bespoke light wells, with a highly customized glass and integral louver support sandwich. The glass plank above (in the upper right hand corner of the image) is back lit with asymmetrical linear T5 fluorescents with cold weather ballasts, for a gentle halo of the rain-screen. Picking up the stagger pattern motif are LED exterior step lights that add a counter point, and illuminate the emergency exit paths. This is balanced with 3000k linear T5 uplights in the theatre that dim to allow balance between the exterior and interior lit image.



Here the sunlight is grazing along the lobby ceiling. The lobby is used in the afternoon and evening for events. To support these events, an additional layer of flexible event lighting has been incorporated. The event lighting is recessed, trimless bus-way that is highly integrated at alternating ceiling control joints. This allows flexibility for event programming in the space, and the ability to light either tables or large sculptures in the lobby space. These bus-way lighting circuits are controlled separately. There is also a series of adjustable tungsten halogen downlights in the ceiling along the art wall. These downlights allow the use of lenses to wash the wall, or highlight a sculpture; again these are separately controlled from the other circuits in the lobby.



View from inside the Mediateque, which has a forced view down into the water. This pensive space is lit through linear fluorescent luminaires integrated into the concrete stairs and the seating. The hidden position of the luminaires allow a glare free environment, while also mitigating reflections of luminaires in the glass. This also removed all the luminaires from the ceiling surface, which created a clean plane.



The hallmark four storey stair case needed a unique and iconic lighting strategy to give life to an otherwise standard spiral staircase. To accentuate the verticality of the space, a pair of opposing, long-life linear, high efficiency (28 watt T5) fluorescent lamps were integrated vertically into a custom hanging housing. This added another visual layer to the metal, wood and white palette. The custom housing was designed with the ability to reach in and change lamps with a standard utility reach pole, from the stairs. The circuiting was also engineered to allow half of the luminaires to act as the emergency lighting in the space.



View of the flexible and divisible fourth-floor top-lit galleries. The daylighting system creates a luminous ceiling of which is supported by the integrated Light Channel. The motorized blinds for the daylighting system have the ability to modulate, into 12’x 12’ sections that follow the smallest gallery configuration. This allows for daylight reduction or black out to allow video, or other various light sensitive works. The daylighting is controlled to work with a lux-hours approach, and allow a maximum quantity of natural light. At night the luminous ceiling is supplemented by linear T5 fluorescents uplights above the ceiling scrim, integrated into the Light Channel. The Light Channel also supports zoned, adjustable exhibit lighting, to align with the daylighting zones. Lastly, the Light Channel also integrates the surveillance system, IT / AV wiring, sprinklers and strong points for temporary walls and can act as two-ton, sculpture hanging points.


Evaluation Criteria - Institute of Contemporary Art, Boston

• Design Goals– Create an iconic anchor institution in the waterfront that follows the ethos

of the institution; high-impact visuals using a practical approach.

– Light the exterior seating areas for public use, as well as supporting a café environment that can spill out on the north exterior plaza overlooking the water.

– Create a flexible environment for all the different program requirements in the building, including a world class set of galleries spaces, mixed use lobby and theatre space that met modern conservation standards while utilizing daylight.


• Complexity of Project– The overall project had a exceptionally tight utilization ratio of net to gross space,

with an extremely aggressive budget cap, and a need for practicality and longevity.

– Integration of a top-daylit gallery for video through sculpture use. The design had to take into account scheduled high-rise buildings to the south that would tower over the gallery, causing shadows on the roof. The daylighting system needed to not be affected by the shadowing of the future high-rise construction.

– Added to this is many key spaces has multiple functions. This meant flexible luminaire systems, and most importantly a lighting systems with controls that could be linked to a flexible Building Management System was a must.



• Concept– As motioned with a few intro slides, the buildings’ glass facades were

used either to let the visual boarder be blurred from the interior to the exterior space, or at the same time become luminous iconic surfaces. On the interior, the lighting design needed to the support the visually stacked cool-warm-cool lit separation for the exterior night-time image, from the inside of the building out.

– Create a top daylight gallery that integrated it’s daylight and electric lighting to modern conservation standards.



• Harmony– The building’s exterior lighting is handled to allow the complete integration with the

public harbor walk that passes through the site, creating a harmonious interaction.

– Key features of the project, such as the board walk’s main sub-structure was engineered around the lighting integration requirement.

– In the galleries, the whole roof assembly, including structure was led by the daylighting requirements. This required very close integration of the building’s main “mega-truss” and secondary space-frame structure elements. There was close coordination with the mechanical and architectural systems to meet energy code with the glass. For example, the low-e coating used in the galleries was carefully selected to balance the Colour Rendering Index and U-value for mechanical performance.

– The visual priorities were balanced with the integration of different lighting systems. One case in particular was incorporating the architectural lighting in the theatre with its production lighting capabilities (designed by different firm) by using one integrated stanchion.



• Inventiveness– In spaces such as the Mediatque, creative visual approaches led to non-

traditional lighting placement to create unique environments.

– Throughout the project, the lighting design utilized new technologies, such as dimmable LEDs for the auditorium.

– The design team engineered large portions of the structure to meet the lighting design intent. Examples include incorporating luminaires beneath the boardwalk, as well as molding the cast-in-place concrete around the luminaires beneath the steps in the Mediateque.

– This project also created a custom Light Channel for the exhibit lighting system. It included the ambient up-lighting, the track lighting system, and other building services.



• Appropriateness– The design of the gallery lighting system drove many of the overall

architectural and building service design parameters to meet the remit for a top-lit gallery, on a modest construction budget. Integration of the daylighting, to work in conjunction with exhibit electric lighting created a high colour rendition light environment for viewing art.

– Following the architectural gestures that were critical to the project, the key surfaces that make up the gestures were lit to bring out the most desirable qualities of those materials. This included the channel glass rain-screen and the warmth of the wood wrapping surface.



• Realization– Throughout the facility, there are three main type of lamps in the public spaces, with

a few beam spreads. They include ceramic metal halide lamps for exterior use, high-efficiency linear T5 lamps, and Infra-Red Conserving (IRC) tungsten halogen lamps in PAR 36 and 38 varieties. The IRC lamps allow 4000 hours of lamp life, and high quality colour rendering for the visual tasks of viewing the art.

– A multi-level, computer based (with web-based scheduling) lighting control switching system was designed to control the whole facility. The system allowed logical groupings of luminaires for maximum flexibility of uses. It created multiple over-lapping lighting zones that have a wide variety of lighting functions. This lighting control system is fully linked with the Building Management System for a high level of basic control and automation functions.



Project 3

Project: Light Spa Café Environment, New York, NY

Client: Conde Nast Publications

Architect: Skidmore, Owings & Merrill LLP

Applicant’s Role: Lead Lighting Designer / Project Director


When approached by their client to design a cafeteria for a large media company, the lighting designer for this project suggested creating a spa-like environment that could change to produce different lighting conditions within the space. The basis of the design concept was to be able to have the employees contribute to adjusting the feel of the space. By using over 96,000 color changing LED nodes, each with a Red, Green and Blue Diode, the lighting designer worked with the architect to create a luminous environment with no visible light fixtures – the walls and ceiling glow from behind.

Light Spa Café Environment for Conde Nast - Overview



• The unique nature of the space presented an opportunity for ongoing interaction with the light and the luminous surfaces. The lighting designer developed a position for a “Curator of Light” as a mechanism to keep the visual in this ever changing space fresh.

• As a apart of the capabilities of the space, live or stored video can be played back on the walls and distributed throughout the various walls and ceiling.



• Leading into the space is the “Motion Corridor”. This space has video cameras that take multiple images and layer them with a magnified and abstracted manner, reminiscent of a cubist painting; the corridor therefore responds to the visitor’s every move. Another element that will be Curated to maintain it’s “visual freshness”.

• Hidden behind the walls inside the café, in a highly integrated architectural and building service perspective, are five high density control equipment rooms. All of the control equipment is linked via a gigabit control network dedicated to the lighting control system.


Light Spa Café Environment for Conde Nast Image 1 of 9

The luminous walls and ceiling create an environment that provides all lighting in the space, so that no typical light fixtures are visible. The glass ceiling and walls were created using a laminated low-iron glass with a doubled up diffusing interlayer, so that the individual LED nodes were not visible. Using RGB color changing LED lighting allows the owner to make the walls and ceiling any color in the spectrum, or display video that was custom produced for the environment.


Since the cafeteria was constructed in an existing building, low ceiling heights presented a challenge. Working with only a 4” deep cavity between the top of the ceiling (where the LED nodes were affixed) and the diffusing glass, the team had to find the right combination of diffusing interlayers. This was to sufficiently diffuse the LED nodes while allowing enough light through for an appropriate general illumination of the space. Mockups and testing were a continual part of the design process, as shown here reviewing various glass make-ups with the architect.



This progress construction image shows one of the many times of which the visual characteristics began to evolve. As the construction progressed, the effect was checked to confirm the results of calculations and mockups.




The view of the finished cafeteria is a unique environment which surrounds the occupants in light. The custom programmed control system allows the selection of pre-determined gently moving color schemes, suitable for dining hours. It also allows for the display of video / art environments created for the space, which can have more saturated colors and contain quickly moving effects. Any motion was restrained for use only during non-dinning, private and special event periods.

The next few slides show various sequences from the designer’s “Sunrise” series. The still images show a range of available experiences for selection during non-dining events.








Alcoves surrounding the main space allow for more intimate dining. They are illuminated by dimmed T5 fluorescent lighting with adjustable light levels to complement the conditions in the main space. As color rendition of the served food was important, a set of parameters for colour usage has been establish during dining hours.




The result of the installation is a complete environment which produces a unique visual experience. The owner can change the lighting effect with the push of a button using a “jukebox” application to choose between pre-programmed color settings (including all-white), site specific environments / video programs (created by artists), or democratically created “light spa environments”.


• Design Goals– Construct a creative space where the softness of light was unlike any other

environment in the corporate facility ; a virtual light spa.

– Design a space that felt like the occupants had left the dingy 1960 office building for a one of a kind experience, with a democratic and ever changing spatial interaction.

– Create an environment where luminaires that are not visible.

– Meet the budget!

Evaluation Criteria - Light Spa Café Environment for Conde Nast


• Complexity of Project– The project needed to fit into an existing building with greatly reduced ceiling

clearances. The allowable space to work with was less than 8’-6” once structural steel was taken into account. Close coordination with routing HVAC systems was paramount for future access and maintenance.

– The contractor had to install the glass in a precision sequence around the LED installation, all with precision dimensions. The installation and programming the $900,000 of LEDs needed to happen in less than 2.5 months.

– The project required a highly customized computer program, beyond just an industry standard playback similar to that of ETC or Pharos playback. A whole computerize lighting control authoring and control environment was developed between the team’s programmers and manufacturers.



• Concept– Create a completely different environment from the corporate offices for

the highly creative and sensitive staff of Conde Nast. Have this environment use light to be a therapeutic spa-like and ever changing environment; a mechanism to keep the space visually fresh with a new way to look at the environment.



• Harmony– The luminous walls become the architectural motif; the light and

architecture are completely in sync.

– The architectural module for the project is picked up with uniform spacing of the LEDs that works with the prescribed glass dimensions.

– The multiple equipment closets for the LED control gear are integrated into the room such that they are completely hidden.



• Inventiveness– The growth of incorporating LEDs in the built environment has led to

many spaces where a portion of the spaces lit by that source. This space is completely lit with RGB LEDs, with the exception of emergency lighting. All the lighting (LEDs and emergency) are out of sight of the visitor.

– The highly customized lighting control system, via a multitude of dedicated Mac Pro computers, was developed due to the lack of the sophistication in the current lighting control market.



• Appropriateness– The spa-like feel was chosen to create a relaxing and creative refuge from

the high stress corporate environment.

– The customizable computer control allows the environment to be continually updated to maintain its creative nature.

– With such a low ceiling and a depressing space, what better way to combat this, than with a space all about light!



• Realization– The main lighting utilized 96,000 nodes, each with a Red, Green and Blue

light emitting diode. These nodes are controlled from the latest in high density Ethernet based power-supplies. The LEDs were chosen for their 50,000 hour life, giving a long maintenance cycle to the diodes –approximately the length of the client’s lease.

– The colour mixing allows for a fine tuning of the look and feel of the space. This means the food can look good for dining, or the space can be very colourful for very unique events.

– The Curator of Light position that was created is the key to the longevity of the space.



Project 4

Project / Client: The Morgan Library, New York, NY

Architect: Renzo Piano Building Workshop (Design)Beyer Blinder Belle LLP (Executive)

Applicant’s Role: Senior Lighting Designer, Project Manager


• Located on Madison Avenue, the Library is one of the worlds most important museums for rare books, manuscripts and drawings. The aim of the project was to create better circulation through the existing three buildings, and add over 76,000 square feet of new space, to the existing 60,000 square feet. The new spaces included a recital hall, new gallery spaces, a secure book vault, a piazza, and a multi-storey reading room.

• The new piazza connects the various six wings of the Morgan Library. A flying carpet of a sunscreen allows partial views through the fully glazed and transparent roof.

• The designer's remit included architectural and daylighting for the extensive renovation and the new construction.

The Morgan Library - Overview


The Morgan Library - Image 1 of 6

A finished view of the new main entrance to the facility.

The key for the lighting design was to balance the new exterior façade with the existing architecture. Cool 4200K Ceramic Metal Halide asymmetrical adjustable flood lights were used as a visual counterpoint on the cool exterior stone and new metal panel. This has a nice counterpoint to the warm 3100K of the interior lighting. The entry ramp and signage were lit with recessed luminaries into the new entry stone-work.



The main image shows the piazza heading into the evening.

Custom designed suspended adjustable Ceramic Metal Halide 150W units suspend down 15’-25’. These high light output luminaires were needed as the species of olive trees require a high amount of light for healthy conditions / longevity. An in-depth daylighting study determined the need and design for shading the piazza for energy code and visitor comfort reasons. This led to supplementing daylight for the trees with additional electric lighting via adjustable pendants. These luminaires offer the ability to adjust the tree lighting in the future as the tree grows.

The back drop of the piazza is a row of up-lit bamboo trees to draw the eye through the lobby of the building, to this bamboo backdrop on the exterior east side of the glass piazza.



Looking up through the piazza roof, the visual connection to the sky beyond was retained, creating a light feeling roof structure. The “flying carpet” sunscreen was designed to allow sight view, while being balanced with the mechanical requirements.



A detailed view showing the lightness of the ceiling / roof envelope make up, while providing enough shading for visitor comfort. The flexible lighting system is suspended from the lightweight low-iron glass, roof structure.


The Morgan Library - Image 5 of 7A few stories below grade, the new recital hall / auditorium was lit to bring out the warmth inherent in the wood. Another visual goal was to help bring one’s eye to the corners of the room, giving the auditorium a spacious felling. This was accomplished through a grouping of two custom up-light luminaire wall sconces to light the acoustic “pillows” and a layer of scalloped accents on the wood walls. For task light in the room, a custom multi-headed, adjustable MR-16 luminaire with louvers acted as “stars” nestled between the acoustic pillows. A common tungsten halogen IR MR-16 lamp, that provided a warmth to the space, was used for its long 4,000 hours of lamp life in all three layers of light. All three layers used remote low-voltage transformers to reduce noise issues. To light the stage, three 5-lamp custom luminaire chandeliers are above the stage They swivel to fly to different positions with the acoustic reflector. There is a set of dimmable LED step lights for a glow at the stairs during the performance. The entire system, including the production lighting infrastructure, was on one lighting control system, with emergency bypass, for seamless user operation.

The next image (No. 6) is by a different photographer, with different white balance settings on their digital camera.




The double height Reading Room has a luminous ceiling to allow daylight to enter the space. The daylight above the scrim is modulated with a set of continually adjusting motorized louvers, acoustically isolated from the main reading room. The amount of light is modulated to conserve and prevent damage to the books in the room. Custom, asymmetrical linear fluorescent luminaires, with UV protecting sleeves were integrated with the custom millwork at the top of the book racks on both levels. These can be dimmed accordingly. Supplemental reading lamps are provided for higher illuminance levels.



Evaluation Criteria - The Morgan Library

• Design Goals– The Morgan trustees wanted facilities currently favored by large, public

museums, creating an addition of 76,000 square feet and costing $106 million. The team was given the goals of creating a 280-seat recital hall / auditorium, new storage vaults, more galleries, a new reading room, an enlarged store, a café, and a gourmet restaurant. Far too much was from the 1980’s renovation was crammed into this tight, 42,314-square-foot site. The Owner was reluctant to build a tower, so the design team approached the problem by excavating 65 feet below ground for the auditorium and new state-of-the-art storage.



• Design Goals– Further to the new construction, the lighting design goals included

developing a cohesive lighting scheme for the renovation of the existing galleries and the original Morgan House, which attempted to unify the visitor experience.

– Use daylight to maintain a strong connection in the Reading Rooms, the new galleries and to the lower elevations of the building, in particularly the theatre lobby that was two stories below grade.


• Complexity of Project– Created a unified scheme for four very different style buildings.

– Designed the lighting in the spaces that feel voluminous, yet are physically restricted.

– Incorporated stringent lighting criteria for priceless, and un-replaceable works.

– Worked with a design team across four countries.

– Phased the building for multiple occupation timelines.

– Designed highly detailed custom luminaires.



• Concept– Used light to create volume and warmth to the various spaces, including

controlled daylight.

– Created a warm and inviting recital hall.

– Used a family of luminaires, in various custom configurations, as a common visual thread through the facility.

– Incorporated the stringent requirements for living trees in the Piazza, in a protected environment that reduces the amount of light for visitor comfort.



• Harmony– The “flying carpet” was an integral architectural element, which also

worked in direct relationship with visitor comfort and the building’s mechanical (HVAC) design to dramatically reduce the heat gain on the glass ceiling / roof. This “flying carpet” was also the method to walk on the glass ceiling, so extensive structural and OSHA requirements were integrated into the overall scheme. This designed element furthered the design concept in allowing a view out of the roof to the sky.

– In the reading the room, the daylight system was integral to the look of the room, which was replicated in the Cube Gallery. It consisted of daylight, and hidden supplemental electric lighting.

– Many luminaires were detailed into custom millwork, and required extensive collaboration with the two architectural firms, the Millworker and the Local 3 union electricians.



• Inventiveness– The “flying carpet” was developed specifically around the site

orientation and location, and balanced the technical needs of the building design, to create a comfortable visitor experience.

– A family of luminaires, with many installation and mounting conditions, meant developing non-traditional luminaire fabrication and incorporation techniques.

– Developed an architecturally based multi-layered daylight / sunlight mitigation strategy for the light sensitive works and galleries.



• Appropriateness– A “lightness” of the architecture lent the daylighting design to a

connection with the exterior environment in the non-lighting criteria bound spaces. Controlled luminous surfaces were used in areas where light restriction was required for conservation.

– Dappled sun light was encouraged to enter parts of the Piazza, and surrounding areas to help lighten some of the dark and heavy feeling existing architecture.

– Warmth in the light was critical to the Design Architect for bringing out the richness of the interior wood surfaces. This started at the entrance with the mahogany donor wall, and carried through to the same timber in the subterranean recital hall.



• Realization– Tungsten halogen sources, mostly 4000 hour IRC MR-16s, and AR-111s

were used in the gallery spaces to light works. Where fluorescents were used in the up-lighting of the luminous scrim ceilings, high CRI linear fluorescent lamps were chosen.

– Long life ceramic metal halide lamps were chosen for exterior façade lighting. Smaller CMH lumen packages (35 and 70 watt T6) were chosen for hard to reach areas in the Piazza.

– The lighting control system for the exterior lighting and the new construction was configured to automatically turn off luminaires at various curfew times, depending on function and light pollution concerns.



Thank you for your time, and this opportunity to apply for IALD Professional Membership.

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