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(left and below) When the receptionhall’s wings are open, the structureemanates light from within.(opposite, top) All interior verticalsurfaces are lighted with tungstenhalogen luminaires.(opposite, bottom) The vertical surfacesof the parking garage are bathed withnatural light during the day, andilluminated with metal halide wall-washersat night. The wall-washers use colorcorrecting glass to match thetungsten halogen light, to keepthe garage integral to thebuilding’s night-time image.PHOTO: TIMOTHY HURSLEYPHOTO: JIM BROZEKrecting glass to match tungsten halogen light. The garage isintegral to the museum’s nighttime identity.Construction innovationWhile the building was under construction the lightingdesigners considered illuminating the mast and cable stays ofthe pedestrian bridge, but the surrounding area of the city producesa lot of ambient light and the white surface of the structurereflected this light. After experimenting with mock-ups,they decided to scale back and “under-light” the bridge.The technology continued to evolve during the designprocess. The fixtures they ended-up using on the brise soleilwere not available when they began the design. According toelectrical engineer Boyce, the team discovered the fixtures atLIGHTFAIR INTERNATIONAL 2001. They used a 39 W anAAL (Architectural Area Lighting) Oculus precision floodlightfixture, ceramic metal halide lamp on an adjustable axial fixture(parabolic reflector with anaxial lamp orientation). Thebeauty of this fixture is that youcan adjust the beam angle from10 to 43 degrees, while in operation.They also used concentricring louvers, an external angledhood shield and asymmetricreflectors normally used outsideto cut down on glare, which weretucked along the brise soleil rail.As a result, the lights are inconspicuousduring the daytime.The brise soleil is a spectacularfeature of the building. After creatingdozens of mock-ups on itand on the bollard and the benchlights and the step lights, etc.,they decided instead to experimentwith the building at varyingstates of construction.According to Sexton, “Welearned something on this project,which is that you really don’t know exactly what to do untilparts of the building are actually constructed. A computermodeling would not have given all the information needed inorder to solve the lighting problem of the building.” The lightingteam followed a process similar to the one used by thearchitect, learning from the actual construction itself. “There isa point in time, when a certain amount of the construction iscompleted and you can actually work on that completed portion,and figure out what to do next, rather than just look at iton paper,” Sexton states. They could not figure out what kindof lighting to put under the brise soleil until it was in place. Atthe same time they had discovered new fixtures, which had theflexibility of being rotated and moved around, so they coulddetermine how to illuminate it. By taking this approach thedesigners were able to avoid making mistakes and so theyended up solving the problem efficiently. Boyce states,“Generally, so much work is done on paper and on the com-48 LD+A/May 2003 www.iesna.orgPHOTO: JIM BROZEKPHOTO: JIM BROZEKputer. The designers will try to visualize or look at other projects.However, when you look at a form as complex asCalatrava’s, there is almost no other way to understand it. It issuch a subtle building, such a subtle shape. The trick is not toover-light it, but to find the right balance.”“When one goes to Asia, people think more about shadows.In Western mentality we always think about over-lightingthings.” Sexton comments.Original museum architect Kahler muses, “Calatrava studiedhuman skeletal structure, animal structure, bone-structuresand so forth, hence, this building has a very organic look andit requires a different kind of lighting. It’s different from tryingto illuminate a square or a rectangular box or a mazion type ofbuilding.” One would illuminate these spaces from the insidewhere it has rectangular spaces or from the outside where it hasa rectangular shape. Illumination of those kinds of surfaces isvery different from the curved surfaces that you find in thisbuilding. These shapes require a different convention orapproach to illuminating. “The analogy would be to comparephotographing an inanimate object as opposed to the humanform,” says Kahler.“Working on any other project where the form is not as complex,it normally takes the computer 12 to 18 hours to run onelighting effect. So with a building as complex as the MilwaukeeArts Museum it would be almost impossible to use the computer,”states Boyce.Benefits to the end-userMaximizing daylight benefits the owners in terms of energyconservation and maintenance/operation requirements.www.iesna.org
PHOTOS: JIM BROZEK(left) The reception hall’s wingsare closing.Inspired by this eloquent design, renowned landscape architectDan Kiley designed a network of gardens, hedges, plazas,and fountains to further enhance the visitor’s experience.Apparently, the expansion is striking a chord with the community.More than 500,000 people visited the museum during itsfirst full year of operation.—Roslyn LoweFrom a flexibility standpoint, one of the features built intothe gallery lighting is also tied into the master control systemthroughout the relays, so the user can reprogram the tracks inany of the galleries in the museum, or reprogram the fixtures inany of the media rooms or auditorium, dining room, etc. Eventhe outdoor lighting can be reprogrammed. It’s initially set upinto several different scenes. But as the use of the space changesit is very simple for building management to go in and programthe system for weddings, receptions, concerts and even funerals.They can easily override the controls for those kinds ofevents.The lighting design for the museum shop is identical to themain gallery. This reinforces the repetition of the buildingmodule in addition to the need for the museum’s gallery spaceto continue to expand.The designers: Lighting designer:George Stuart Sexton, III, IESNA,IALD. Sexton is principal ofGeorge Sexton Associates, Washington,DC, established in 1980,providing consulting services inthe areas of architecture, lightingdesign, and museum services, programming,exhibition and lighting. From 1978-1980 hewas chief exhibitions designer and head of design andinstallation at the Fine Arts Museums of San Francisco.From 1977-1978 acting keeper, responsible for designproduction and lighting of permanent installations at theThe University of East Anglia, Sainsbury Centre for theVisual Arts, Norwich, England. From 1973-1977 Sextonwas installationist museum specialist at the NationalGallery of Art, Washington, DC. He was a lighting consultantwith Claude R. Engle, Lighting Consultant,Washington, DC., from 1971-73. He holds a Bachelor ofArts from Virginia Polytechnic Institute and StateUniversity, Blacksburg, VA.Electrical Engineer Dale R. Boyce, PE, LC joined Ring &DuChateau, Inc. in 1994. He is a senior project managerin the Electrical Department. He designs lighting, controls,power and communications systems. Boycereceived his BS in Electrical and Electronics Engineering from North DakotaState University, Fargo, ND in 1972. He obtained his LC, in 1998. Boyce joinedIESNA in 1977, and is active in the Milwaukee Section and is a past section president.He has been intimately involved with the design and construction of allelectrical systems in the Calatrava Addition for the Milwaukee Art Museum.Architect Santiago Calatrava was born in Valencia, Spain, where he studied artand architecture, with graduate courses in urban studies and civil engineering.He has a Ph.D. in Technical Science from Swiss Federal Institute of Technology,and honorary doctorates from the University Polytechnic Valencia, University ofSeville, Heriot-/watt University in Edinburgh, Scotland and Milwaukee Schoolof Engineering. Calatrava lives in Paris and has architectural offices in Zurich,1981, Paris 1989 and Valencia, Spain.Local Architect David T. Kahler, has a prestigious list of honors and credentials.He has practiced architecture for more than 40 years and has been recognizedby his peers as a Fellow of the American Institute of Architects. Kahler foundedDK Consulting in 2001 and serves as president and design advisor. He supervisedand designed the original Milwaukee Art Museum, as well as the currentCalatrava addition, among countless other projects. Kahler is registered in thestates of Arizona, Colorado, Florida, Illinois, Indiana, Iowa, Maine, Massachusetts,Michigan, Minnesota, Missouri, Montana, Utah, Wisconsin and isNCARB certified. He holds a Master of Fine Arts in Architecture, PrincetonUniversity, 1962; Bachelor of Architecture, Syracuse University, 1960.50 LD+A/May 2003 www.iesna.org
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