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of illumination for an artifact is 50 lux without any more reasonthan the piece is a textile. Each piece fades at a different rateand most have already faded to some extent and they will notkeep on fading at the same rate. Using a blanket low levelrestriction does a disservice to our visitors.Kesner: One of the greatest challenges I see is to deliver current,research-based information to practitioners in a convenientand easy-to-read form. Many decision-makers working insmall to medium size museums with limited resources are notgetting the lighting information they need to make effectivedecisions. Several factors may account for this. Decision-makersare diverse and their training in lighting may be limited.They typically wear many hats. Museum lighting guidelinesmust be written for the non-technical reader and publishedwhere practitioners are likely to see it, e.g. trade publicationstargeting museum personnel, facilities managers, architectsand interior designers.Information must not only be easy to understand and convenientlyaccessible, but also based on objective data. Museumlighting guides therefore need a research basis along with consensusof experienced practitioners. Further, the informationcurrently available typically reflects a limited perspective.However, the priorities of various constituents, including visitors,should be represented.LD+A: Final thoughts?Kesner: My recommendations for the lighting communityinclude:• Sessions at professional meetings targeting museumpersonnel, facility managers, architects and interiordesigners; topics to include low-cost solutions for effectivelighting with a focus on artifact preservation anddaylight management.• Cross-disciplinary collaboration by providing venuesfor museum directors, curators, preparators, electricians(and other personnel), architects, lighting designers,exhibit designers and lighting equipment manufacturersto discuss and appreciate mutual concerns.• Support of schools that offer inter-disciplinary curriculaand team-teaching opportunities to educate studentsabout lighting attributes affecting artifact preservation,artifact appearance and the importance of lighting togood visual quality.• Cross-disciplinary museum design programs to includeinterior design, architecture and biology.• Organizational and institutional support of rigorousmuseum lighting research, especially field studies.• Industry support to build facilities for testing museumlighting products and studying the needs of older visitors.—Paul Tarriconewww.iesna.orgLD+A/May 2003 55
Artist’s rendering of theplanned skyscraper.IF YOUMARKET IT,THEYWILLCOME‘Virtual tours’—supported bycomputerizedimaging andlighting presets—are being usedto market spacein a 52-storyskyscraperplanned fordowntownPhiladelphia.For real estate developers, a sluggish economy oftentranslates into an ultra-competitive leasing climate.Developers need to look for any edge when marketingspace, and Liberty Property Trust may have found just the rightone for luring tenants to One Pennsylvania Plaza, its $350 million,52-story office building currently under construction inPhiladelphia. When completed, the skyscraper will occupy adistinctive place in the city’s downtown skyline.The marketing strategy comes to life in a 9,000 sq ft salesoffice/showroom, where the company is marketing the newskyscraper through virtual tours. “They wanted a marketingoffice that was fun and different, more like a high-techPHOTOS: TOM CRANEView 156 LD+A/May 2003 www.iesna.org
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