This photo showcases the first movement in a suite of three smooth cinematic transitions that highlight different elements of the Neoclassical façade of the Musée des Beaux Arts de Lille. I worked on this project with my late friend, Jean Françoise Arnaud. Together, we were honored to receive the prestigious IES Paul Waterbury Award of Distinction in 1998. The illumination in the photo, by Jean Marc Charles, does not reveal its light sources; instead, it creates moments when the building's surface displays its decorative features through a play of highlights and shadows. Our approach was cinematic, treating lighting as a medium to create visual drama. Photo: Jean Marc Charles 1989

This photo captures the second movement, highlighting the columns and part of the pediment of the Musée des Beaux Arts de Lille. Jean Françoise and I meticulously positioned symmetrical projectors with millimetric precision to illuminate the cornices and columns. We took turns working on the building and coordinating from outside using walkie-talkies to determine the exact placement of the projectors. Photo: Jean Marc Charles 1989

We utilized state-of-the-art metal halide light sources that produced an impressive 2700 K color temperature. It took another 15 years for LED technology to match the brightness, color stability, and quality that we achieved with these lamps. Witnessing the transition from traditional gas-based lighting (metal halides) to solid-state technology (InGaN) has been both a personal and professional journey that I have thoroughly enjoyed. Being part of the shift between two eras in the history of lighting feels miraculous, reminiscent of when early painters explored caves and discovered surfaces imbued with mystical properties using their grease lamps, or when New Yorkers first enjoyed the warmth of incandescent bulbs in their homes. After more than a century of use, the era of discharge light sources encased in glass ampules has come to an end. But we were still there during this significant transition. Photo: Jean Marc Charles 1989

The side view of the building was illuminated to create a more homogeneous surface without transitional stages. For this part of the building, we used two tones of white lighting to highlight the details. Photo: Jean Marc Charles 1989

As the project designer for George Sexton Associates, I selected lamps for the sconces that matched the color temperature of the ceiling fixtures. This was done to create a complementary level of brightness that adhered to the high standards of the office. The selection process involved studying numerous samples to find an excellent lamp with the exact diameter needed to fit through the sconce's glass shade. In the heritage retrofitting of 20th-century designs, it is crucial to maintain the original appearance of objects while enhancing the quality of the lighting they produce. Photo Michael K. Wilkinson

As the project designer for George Sexton Associates, I worked alongside the architectural services team for the hotel to create a lighting solution for the lobby. Our goal was to enhance the space with spark, ambiance, and focus while preserving the historical ceiling, ultimately creating a welcoming atmosphere for this prestigious hotel in Washington, DC. We carefully selected the lighting fixtures based on their dimensions and lumen output. The installation process was complex, requiring the construction of a raised platform in the floor above to accommodate all the low-voltage cables feeding the lamps. This involved perforating the concrete slab of the ceiling to ensure proper installation. Photo by Michael K. Wilkinson

This project, where I served as a senior designer for George Sexton Associates, was an extension of a larger initiative for the Seal Lobby of the Willard Hotel. The passageway known as Peacock Alley connects the two spaces and is visible in this photo by Michael K. Wilkinson.

During my time as a senior designer at George Sexton Associates working in this project, I developed a concept for the ceiling illumination that involved inserting a slim LED lighting fixture with a remote transformer at the intersection of the ceiling panels. This design created a grid of 28 light points positioned in the center of the ceiling, framed neatly around them. The installation of these fixtures required a precise drilling process, starting from the lobby and moving upward, to ensure that the fixtures would be aligned perpendicularly to the floor. I had the opportunity to observe the initial drillings for this operation, which would be repeated 28 times in total. Photo Michael K Wilkinson.

The main façade of the castle was re-constructed in 1903 by Luca Beltrami as part of a monumental effort to save the remaining walls from destruction. This view showcases the most dramatic aspect of the building, which took the longest to design. Our project required approval from the Sopraintendenza Archeologia, Belle Arti e Paesaggio per la città metropolitana di Milano. From the outset, I aimed to avoid showing any lighting fixtures, as I wanted to preserve the castle's character. To achieve this, we concealed the fixtures within the corbels and installed the necessary electrical infrastructure to provide power. We needed to make perforations in the wall of the building...

We needed to make perforations in the building's floor, and it took considerable time and arguments to establish a credible reason for it. Our research led us to establish the structural system used for the renovation and to determine how we could use it to pierce the holes in a manner that meets our expectations and complies with museum protocols. These perforations served to support the lighting fixtures and lower them to the ground level for relamping, similar to the theatre. This system has been in place for 25 years.

This photo of the front wall presents a striking view of the lighting design that highlights the castle's façade. Two areas that needed illumination: the wider section from the corbels to the ground, and the shorter section from the corbel to the roof. Each area required a distinct lighting system tailored to its size and attachment options. The goal for the lower lighting system was to wash the entire brick wall with maximum lumens, creating a powerful upward glow representing the power of the city of Milano—the upper lighting system aimed to provide a softer glow that would contrast harmoniously with the lower section. The choice of luminaires was a difficult task, and now, the advent of LEDs has rendered both systems obsolete.

Torre La Falconiera features a mural painted by Leonardo Da Vinci around 1480, located in the Sala delle Asse (https://www.discoveringdavinci.com/sala-delle-asse). This mural inspired our approach to illuminating the tower. The introduction of colored lighting to illuminate a historical monument was a first in Italy, sparking significant debate among intellectuals. Notably, Umberto Eco criticized this choice, arguing that it undermined Milan's legacy and that yellow lighting would have been more appropriate for a serious approach to monument illumination. In response to journalists at the time, I clarified that the choice of yellow lighting was not an aesthetic decision but rather a technological necessity, as it was the only viable option available then. I further explained that the use of colored lighting was more representative of the artistic style during the time of Ludovico El Moro, who created vibrant atmospheres and costumes for the celebrations of Beatrice d'Este.

The coves in the ceiling were designed to be illuminated with cold cathode tubes. During the lighting renovation, prior to the introduction of LEDs, they were retrofitted using the same technology that was prevalent in the 1930s. Today, the installation features LED fixtures that are custom-cut to fit. This technological advancement is unimaginable compared to the situation in 1997. The progress in lighting technology today is only comparable to the emergence of Paleolithic lamps over 25,000 years ago.unimaginable in 1997.

Milano has a long-standing tradition of utilizing a catenary system. This photo illustrates an effective anchoring method that employs two points— a fail-safe principle designed to ensure that the fixtures remain securely attached in the event of catastrophic wind loads or wall failures. The fixtures we used for this project are lightweight, and their center of gravity is high to avoid enhancing pendular movements.

This photo shows the entrance of the Teatro alla Scala di Milano, located at Piazza della Scala and Via Alessandro Manzoni. Above the yellow tram, you can see a series of catenary fixtures supported by cables on either side of the street. The road in front of the theater and the square are unobstructed by our devices; instead, they are illuminated by nearby street poles.

The street façade of Chiesa Santa Maria played a crucial role in determining the location for anchoring the catenary. Our approach to street lighting was influenced not only by calculations regarding the ground layout but also by the visual aspect of the cityscape for pedestrians and the preservation of the building's integrity. Our criteria were essential in maintaining key elements of the city's image and were praised by the Sopraintendenza Archeologia, Belle Arti e Paesaggio per la città metropolitana di Milano.

This catenary lighting system, designed for downtown Milan, effectively combines technology and aesthetics to match the unique characteristics of the city. Our proposal received approval from the Sopraintendenza Archeologia, Belle Arti e Paesaggio per la città metropolitana di Milano. The project required careful coordination to meet the photometric needs of the streets while ensuring that the lighting fixtures harmonized with the surrounding architecture. As a result, we adjusted the spacing between the lighting devices to avoid obstructing views of critical architectural elements such as windows, pediments, columns, and other decorative features.

Mellows Bridge over the Liffey River in Dublin was the site of a historical mock-up demonstration for Dublin's Corporation. This demonstration successfully convinced the city engineers that LEDs were the ideal technology for making the balusters visible at night. For this project, I aimed to use a light source that was mechanically attached to its support. I had previously observed a different technology: Xenon lamps mounted with a bayonet clip system. However, I noticed that they were unable to withstand the vibrations caused by passing vehicles while illuminating the bridges in Paris. During the preliminary design phase, the only available LEDs were the Orange T 1-1/4 from Hewlett-Packard. A company in Lyon, LEC Lyon, was producing devices that utilized this component. Pioneer Jean-Pierre Valencogne provided me with a 90 cm sample, which he claimed changed the course of lighting history. For more information, you can visit their website: LEC Lyon History https://www.lec-lyon.com/company/history# Photo: Jorge Parra 2008

Photo: Jorge Parra 2008

Photo: Niels van Duinnen 2003

Photo: Niels van Duinnen 2003

Visitors Entrance

Corridor leading to the car exhibit

The Main bridge connecting the park with the amusement park. The lighting fixtures attached to the surface are reflected in the water, producing a mirror image that gives the impression of a closed loop.

Lighting is integrated to the membrane canopies to create a uniform glow in the area.

As the project designer for George Sexton Associates,

As the project designer for George Sexton Associates. Photo: Andres Regens

As the project designer for George Sexton Associates,

As the project designer for George Sexton Associates. Photo: Claudia Brancalari

As the project designer for George Sexton Associates,

Lighting sculpture representing the entrance the Doral Downtown. Photo: DPS

At the H&S factory in Hannover PA during the crating of the sculpture for transport to Miami.