Article originally published in arc magazine.
One of the busiest transportation facilities in the Western Hemisphere, New York City’s Pennsylvania Station – known better as Penn Station – services more than 630,000 passengers per day. The mostly subterranean station sits beneath Madison Square Garden, at the intersection of Seventh Avenue and 33rd Street, within reach of several renowned Manhattan locations, such as the Empire State Building and Macy’s Department Store.
Despite the high number of visitors, the concourse was in need of renovation, with its underground passages feeling gloomy and unpleasant. As part of an ongoing station rejuvenation, HLB Lighting Design, alongside project partners AECOM, SOM, and Skansa worked together to design a new entry at 33rd Street and transform the LIRR Concourse into a “lofty, vibrant commuter train hall” that would feel bright and airy.
With the specific intent to deliver a bright and visually interesting environment, HLB sought to combine modern general and accent lighting with a striking, custom dynamic ceiling that would reveal content reflective of the seasons and significant holidays.
Elizabeth Johnson, Associate Director at HLB, tells arc more about the concept for the renovated space: “Our goal was to make a station that felt luminous and comfortable to move through. The lighting design celebrates the updated features of the concourse, such as the increased ceiling heights, and creates a visual landmark with the new luminous ceiling.”
The team closely coordinated with the architects and other trades to ensure that the concourse felt as open as possible. Visual comfort was a high priority, so direct view of the luminaires outside of the luminous ceiling was minimized to mitigate glare and high contrast. HLB looked to use a continuous perimeter grazer to keep one of the brightest lit surfaces up at the top of the walls, drawing the eye upward while looking down the concourse.
The luminous ceiling is one of the defining aspects of the reimagined space, adding a remarkable moment of discovery for passengers as they enter the station. The dynamic display depicts several scenes, representing seasons and other celebratory moments.
Johnson explains that the implementation of such a feature was always a key desire for both the client and the architectural design team. She continues: “We worked closely with the architects, who imagined the tilted square scales of light that reference the skylights in the neighboring Moynihan Train Hall, which has a similar tilt and pattern. We used this to our advantage to ensure the luminous ceiling panels are modular and can withstand potential water leaking in from the street above.”
Because of the unusual dimensions and conditions of the historic space, plus the new entrance, which is elliptical in shape, HLB worked closely with Acuity to build the luminous ceiling panels and light fixtures. The design team recognized the importance of working with a single manufacturer. A large-scale mockup was held during the design process so that both designers and the client could see a 16x16ft example, so the team was able to work through the team’s questions, make final decisions, and discuss what maintenance would look like before anything was manufactured or installed.
For the lighting scenes, HLB worked with a group of stakeholders to determine how they wanted to use the ceiling. It was important for all parties to have seasonal scenes, so the main scene changes as the seasons change throughout the year. There are also several scenes that observe holidays or special occasions, either with specific colors, or even celebratory confetti. One of the dynamic scenes is color-changing, with the client able to choose the color in use, without needing to bring in a programmer to do so.
Given the underground location, one of the core ambitions for the lighting designers was to use this luminous ceiling to create a more natural, daylit feeling in the space.
Johnson explains: “One of the original concepts developed with the architect was a blue-sky scene, which is used quite a bit, in addition to the seasonal scenes. No matter what scene is displayed on the luminous ceiling, the higher light levels help prepare visitors during the day to transition from the station to outdoor light levels. After sunset, the lights dim so that a similarly smooth transition occurs during the evening.
“We wanted to ensure that visitors are looking at the lit surface instead of the fixture. In contrast, we have the luminous ceiling, which is a dynamic feature with color and motion, and asks for attention. So, we were deliberate in determining where to draw attention in order to let the architecture sing and be the star of the show in the space.
“Under the luminous ceiling, we wanted to ensure that whatever color was displaying there has enough white light so that the people in the station do not change color as they travel under the ceiling. There are white light luminaires tucked between the panels, so that there is a balance to the color-changing feature. We also made sure that there are snoots, so that the lighting does not scallop on the sides of the panels.”
The lighting also aids in wayfinding for travelers – along the concourse, there are portals that are highlighted at a slightly higher light level to provide a visible focus for visitors throughout the station. As a facility, Penn Station has been operational for more than 100 years, first opening in 1910. The history of the site therefore presented some difficulties for the lighting designers – particularly in the irregularity of the spaces they were working in.
“Penn Station is a historic site that has been built on top of and redone many times, so understanding the current conditions before we started was an initial challenge,” Johnson explains. “Working around irregular shapes and columns with uneven spacing, for instance, was a challenge for the entire team. Since the station is underground, it has a history of leaking, so we planned ahead for the robustness of the lights. All of the fixtures are modified to survive water exposure, so if the facility leaks from above, the lights will continue to work.”
Because of the inconsistencies in the existing building, such as a slope to the ceiling and floors, and differences in spacing between columns, everything for the luminous ceiling had to be measured for custom design. This also meant that the design team put a lot of thought into the maintenance of the lighting, with the number of light fixtures and manufacturers condensed to ease future maintenance because of fewer points to locate spare parts or coordinate updates with.
“The modifications we made to the fixtures results in a hardier product that can survive various conditions,” Johnson adds.
The attention to detail, particularly in commissioning the luminous ceiling, has seen the revitalized station garner a lot of positive feedback, with the new lighting contributing to a brighter, more harmonious, and more pleasant space. “We spent a lot of time on site commissioning the ceiling, and I have never received so many compliments from various people in the public asking about the lighting and excited to see the progress of the project. The entire design team worked with us to make sure that the lighting was a really strong feature that truly celebrates the architecture.
“We hope the feedback that the client will see in surveys is that the new concourse provides a bright, well-illuminated environment,” Johnson continues.
“The walls, stairs, and portals are highlighted in a way that makes it easier to navigate the station. Plus, the new entry provides an additional source of natural light, which we balanced with the electric lighting to give a general positive feel to the entire station. The team’s hope is that the space feels comfortable and elevated.”
She adds that, since the new look station has been unveiled, she has seen a ground swell of positivity towards the renovation. “We’ve heard feedback that the new space is surprising and astonishing! About a year after opening, during a walkthrough of the space, I showed a picture of the station before renovations, and a few people noted that they forgot how it used to look, and that it’s wonderful how this beautiful space has become a positive part of people’s commutes and everyday lives. It seems appreciated by everyone who utilizes the station.”
Finally, Johnson concludes that, for all the positive feedback the revamped station has received, one of the main things that stands out was the collaboration between all parties involved.
She says: “We worked on this project for a long time with the design team and contractor, and it was amazing to see everyone’s dedication to making this an extraordinary project, even in spite of the challenges and special conditions. “There was a collaborative spirit between all of the different trades, which was vital because the limited space required that everyone work very tightly together and know what was going on throughout each stage of the project. It was an exceptional team.” www.hlblighting.com
Lighting Design: Elizabeth Johnson, Ken Douglas, Luis Carrasquillo-Alicea; HLB Lighting Design
USA Architect: AECOM
USA Lighting Specified: Acuity, Bega, Erco, Gotham, Lumenwerx
Prudential Photography: Feinknopf Photography, Brad Feinknopf and Lauren K. Davis
