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P H O T O N S NOTES ON LIGHTING DESIGN Flags Unfurled The tumultuous and dramatic political history of Mexico has produced a countless number of songs, slogans, and flags. The Hall of Flags exhibit in Chapultepec Castle, home of the National Museum of History in Mexico City, pays homage to the latter. The museum’s namesake in the indigenous language Nahuatl means, “hill of the grasshopper.” The castle, built on a hill in 1785, was once the residence of a viceroy and, later, a military college. Currently the museum has 44 different exhibit areas showing the various stages of Mexican history. The Hall of Flags is one of the museum’s most recent installations. The government of Mexico City awarded the task of lighting the Hall to Gustavo Aviles of Control Luminico. Aside from providing the recommended levels of illumination for the museum, one of Aviles’ primary objectives was to enhance the appearance of the hall by gracing all of the surfaces with soft and dramatic direct and indirect lighting. In the Hall’s passageway, a suspended luminaire with an indirect dimmable fluorescent lamp was installed, in balance with the halogen 4-degree beam AR11. Despite a low illuminance level of under 50 lx, the colors of the Hall’s artifacts in the display cases stand out well. In one of the more prominent display cases, a 3500K T8 dimmable lamp washes the surface of the Sierra flag, which was used in Mexico’s War of Independence from Spain (1821–1823), while halogens pinpoint the viewer’s focus to the gold medals and artifacts. At the end of the hall, the “moon light” display case, holding the Flag of the San Blas Active Battalion (“Bandera del Batallón Activo de San Blas”), is lit with 150 W metal halide fiber optics. The flag was carried by General Felipe Santiago Xicontencatl during a famous battle against invading American forces on September 13, 1847. The general, now a Mexican national hero, died at the foot of Chapultepec Hill that same day. Aviles does justice to the history of his country, illuminating the symbols of Mexico’s past so they can viewed, at last, in a peaceful setting. —Kevin Brady 18 LD+A/April 1999
San Francisco Treat Overlooking the breathtaking Golden Gate Bridge and the bay, the Westin St. Francis Hotel’s banquet facility is sure to make a few dishes go cold as diners focus on the view outside instead of what’s on their plates. Redesigned and renamed Victor’s Palace, the 6500 ft 2 banquet facility sits on the top floor of this landmark hotel. Robert Mapes, George Balle, and the late Craig Roeder were the brains behind the new lighting design which is as moving as the view outside the windows. The designers’ challenge was in creating the most spectacular banquet space in San Francisco under some difficult conditions. Asbestos abatement costs required an absolute minimum of ceiling perforation. Of 80 existing downlights, 35 were removed; the rest were repainted and relamped from 300 W to 100 W R40 floods. New chandeliers were relamped with 60 W blue A19 lamps. All other lighting was completed from one perimeter track running along the 14 ft ceiling, accentuating the art, drapes, and tables with 42 W 9 degree lamps. Additionally, the designers added a small preset dimming system to accommodate time of day/night functions. Electrical conditions of the banquet facility also had to be brought to current codes. In the end, the cost of the project ran only $40,000 with a fixture cost of only $6.15/ft 2 . Wattage was reduced from 24,000 to 10,000 and with only 1.53 W/ft 2 . The result is a more energy efficient and beautifully lit banquet facility, which is always booked months in advance. Wonder if the view has anything to do with it —Kevin Brady P H O T O N S NOTES ON LIGHTING DESIGN Buenas Noches When the architects Hampton/Rivoira renovated the Bank Boston in Buenos Aires, Argentina, Ernesto Diz was called in to design the old building’s new lighting system. His goal was to enhance an already established building with a well-lit exterior, and provide a lighting design that was energy-efficient and respectful of the building’s old-style appearance. Extensive projectors with 250 W halogen mercury lamps, placed in two levels of the architectural molding, were used on the bank’s facade. On the balcony, columns are lit by 150 W halogen mercury lamps. Concealed 150 W sodium lamps provide backlighting to the banisters, as well as light the balcony space’s arches. Also concealed from passersby below, 36 W fluorescent luminaires light up the terrace banister. Again using extensive projectors, this time with 400 W sodium lamps, Diz’s lighting washes the bank’s roof, while 150 W incandescent halogens light the roof’s decorative globe. Maintenance for the facade’s lighting is relatively simple, with direct access to 70 percent of the luminaires. The remaining 30 percent is accessible by scaffold. All of the lamps used have a 12,000 hr life-span, with the exception of the incandescent halogens which have a 2000 hr life. Having been given carte blanche for his design, Diz provides the colorful Argentine capital with another lighting treasure. —Kevin Brady 20 LD+A/April 1999
Page 2 and 3: CONTENTS LIGHTING DESIGN INTERNATIO
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Page 10 and 11: Color Dr. Richard Corth explains,
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Page 16 and 17: Power Ads The advertising dynamos a
Page 18 and 19: San Francisco Shines at LIGHTFAIR S
Page 20 and 21: LIGHTFAIR Events continued from pre
Page 22 and 23: 1998 INTERNATIONAL ILLUMINATION DES
Page 24 and 25: TUNNEL VISION Located in west Paris
Page 26 and 27: The worlds of art and architecture
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Page 30 and 31: (below) By highlighting the water,
Page 32 and 33: LIGHTFAIR INTERNATIONAL SEMINAR PRE
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Page 46 and 47: Opportunities abound for manufactur
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lightfair international - Illuminating Engineering Society

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