The Dickies Arena in Fort Worth, TX, built in the art deco style in exquisite detail, is the grand new home to the Fort Worth Stock Show & Rodeo, a Texas institution. With seating for up to 14,000, the enormous state-of-the-art multipurpose facility is capable of hosting equestrian shows, NCAA Division I college basketball games, ice hockey games, various indoor sporting events, concerts, and a variety of conferences and trade shows, in addition to the Rodeo. The main arena is built over an exhibition space, whose roof serves as an outdoor event plaza. The arena also had unique custom fixture design.
Main Street Station, designated as a National Historic Landmark, is a rehabilitated and repurposed former train shed located in downtown Richmond, VA. Originally built in 1901, and attached to north end of the Renaissance Revival-style headhouse, the shed once served as a dead-end platform for passenger trains. The building was stripped down to its riveted steel structure and reskinned to create the beautiful and historically respectful building you see today, which serves as an event space.
Bringing together patient treatment programs into one centralized location, the 377,000-square- foot Cleveland Clinic Cancer Building includes 126 exam rooms, 98 infusion bays, six linear accelerators, seven procedure rooms, and a Gamma Knife room. The prominent cantilevered glass façade and extensive use of glass on the north and south facades fill the building with daylight, while a series of direct and indirect lighting is used in patient rooms and treatment areas to promote comfort.
A pavilion, seemingly made of light, glows by day and by night. Concealed and subtle, the lighting transforms steel and glass into a magical new public “living room” for Boston. Transparency, reflection, and the color of light change throughout the day. Satisfying the functions of a lobby, lounge, and a venue for special events, the lighting is an integral part of the sculptural form. The transition from day to night is seamless, with tunable white, tailored optics, daylight responsive controls, and color- changing light.
Baylor University Paul L. Foster Campus for Business and Innovation
September 19, 2017 / no comments
Baylor University Paul L. Foster Campus for Business and InnovationAcademic | Daylighting
|SIZE:||285,000 sq. ft.|
|ARCHITECT:||Overland Partners | Architects|
|AWARDS:||A|L Light and Architecture Awards - Best Use of Daylighting|
|PHOTOGRAPHER:||© Paul Bardagjy|
|DESIGN TEAM:||Paul Zaferiou|
The Paul L. Foster Campus for Business and Innovation building provides the thriving Hankamer School of Business at Baylor University with a leading edge facility, which reflects the school’s dedication to creating the next generation of world-class business leaders.
In a collaborative design process with both the architects and owners, aspects of Baylor’s neo-Georgian aesthetic were maintained with new materials and innovative building technologies, in order to demonstrate how rich tradition and contemporary design can come together to create an inspiring learning environment.
A major design challenge was developing a solution to provide as much access to natural light throughout the year as possible, without creating glare or thermal discomfort for the occupants. In particular, the 4-story central atrium was the first task, and initially envisioned by the architect to be capped with a standard north-facing saw-tooth, monitor-style roof. While this was effective, our design team lamented a missed opportunity to create a more dynamic environment within the bustling heart of the building. Employing sophisticated daylight analysis tools, our team quickly explored multiple options that controlled and redirected sunlight year round, before settling on a formula that offered the most promising results and ability to match the architectural vision.
Simultaneously, an interior aesthetic emerged, partly from the architect’s inspiration of the strong geometric works of Josef Albers, and from the University’s desire for a large, round auditorium space. The resultant round and linear language then began to inform lighting concepts throughout the project; the former for gathering spaces, and the latter for circulation.
Considering that the project was designed in mid-2013, the cost and efficacy of the now ubiquitous LED lighting were still at the point where fluorescent fixtures were deemed the better choice for the lensed linear recessed fixtures in the circulation spaces. With that said, the University was still very keen to explore LED technology in other areas of the project, which made sense in terms of access, maintenance, physical size, and aesthetics. This lead to the selection of a linear LED direct/indirect pendant family for all offices and classrooms, with form factor and design as a near-perfect compliment to the design of the building. The optical performance was also superior, compared to linear fluorescent technology — meaning that fixtures could be spaced farther apart and save a significant amount of energy. The resultant low LPD of .59W/sf, combined with a networked lighting control system and aggressive daylight harvesting thresholds, contributed to the LEED Gold rating.
The lighting of the exterior environment was as much about safety and navigation as it was about incorporating the contemporary interpretation of Baylor’s classical architecture into the campus masterplan. In addition to traditional framed windows, heavier masonry planes of the building’s facade appear to split and shift, thereby creating viewports that reveal the inner workings of the school.
With the exception of walkways, exterior stairs, entries, and signage, the façade was deliberately not lighted, in order to strengthen this contrast in the evening and emphasize the student activity within. Two matching cupolas, designed as a series of stacking horizontal plates, are illuminated to not only act as campus beacons, but also to display an architectural detail not easily observed during the day.
The new facility has been very well received by both students and faculty alike, both groups having commented on how the lighting contributes to spaces feeling bright and inviting, while also supporting the architect’s concepts for navigation and hierarchy of volume.
The renovations to the Johnson Addition of the Boston Public Library breathe life back into this 1970s-era building. Largely untouched since the building’s construction, the original lighting was harsh and monochromatic. The architect was tasked with modernizing the interior to meet the needs of today’s patrons and build in flexibility for future reconfigurations. The new design is inviting and youthful, with bold colors, a mixture of furniture styles and stack layouts, and much more open space. Following the contemporary and playful theme of the new design, the pendant lighting system runs asymmetrically to the building grid; this provides both visual interest and reliable illumination for a variety of new programs. Each special area has its own lighting flavor: whimsical for the children’s room, and tech/industrial for the teens’ section. The new study tables bordering the central atrium have modern table-mounted task lights with green fabric shades, recalling the classic green-glass reading lights in the adjoining original McKim, Mead and White building.
Liberty Mutual HeadquartersCorporate
|SIZE:||900,000 sq. ft.|
|OWNERS:||Liberty Mutual Insurance|
|ARCHITECT:||CBT/Childs Bertman Tseckares Inc.|
|AWARDS:||2015 IES Illumination Award of Merit|
|PHOTOGRAPHER:||© Richard Mandelkorn, © Robert Benson|
|DESIGN TEAM:||Paul Zaferiou|
A 22-story office tower completes Liberty Mutual’s Boston campus. Façade lighting at the penthouse level illuminates limestone detailing, elegantly blending with the surrounding architecture. Shifts in architectural planes are expressed with concealed sources to highlight the depth and sophistication of the architecture. An ever-changing, glowing glass pedestrian bridge connects the tower with the existing headquarters across the street. The nighttime experience of the “light bridge” transforms a momentary connection into an experiential journey from one building to the other.
Billy Wilder Theater at the UCLA Hammer MuseumCultural
|LOCATION:||Los Angeles, California|
|SIZE:||11,500 sq. ft.|
|OWNERS:||UCLA Hammer Museum|
|ARCHITECT:||Michael Maltzan Architecture|
|AWARDS:||2008 IALD Award of Merit|
|2008 IES Illumination Award of Merit|
|PHOTOGRAPHER:||© Michael Maltzan Architecture|
|DESIGN TEAM:||Paul Zaferiou|
The 295-seat screening room for UCLA’s Film and Television Archive, an unused shell since 1990, is now one of the world’s most sophisticated cinematèques, equipped to project the full sweep of motion picture history in all original formats. With the majority of financial resources allocated to projection technology, lighting communicates a clear message with a minimal vocabulary: cinema is light projected through space and time.
To convey this message without resorting to cliché, a design generating a sense of movement and anticipation shapes the sequence of spaces. Light expresses the transition from the prosaic to the lyrical, the predictable to the unexpected, the static to the dynamic. The excitement and luxury of an old movie palace is reinterpreted with simple means and contemporary technology.
A portal from the corporeal world into one of imagination, the glassencased ticket office uses a spare, economical vocabulary that heightens its presence from the courtyard and pulls focus through the lobby.
Foreshadowing the sense of movement of the theater’s LED strips, the procession of partially recessed side-pin fluorescent tubes organize the lobby, their reflected images appearing in the glass and extending outdoors.
The Theater’s signature gesture employs white LEDs in diffuse acrylic rods, exploding in a randomized pattern from projector to screen. Twelve zones fade progressively from front to back as shows begin. The lights appear to fly unobstructed through space, hovering on finely detailed supports invisible against the background. The effect creates and shapes space within the black box, and gives tangible form to the transporting sensation of the movies.