5 minute read
Casting Nebraskan Art in a Different Light
from Oct/Nov 2025
Photo credit: © Nic Lehoux
By Randy Reid
When the Museum of Nebraska Art (MONA) embarked on its expansion, the mission was both ambitious and clear: Expand gallery space, introduce visible art storage, and knit together three distinct buildings into one seamless visitor experience.
Buro Happold, led by lighting designers John Sloane and Gabe Guilliams, provided the lighting design and consultancy that shaped the project into an adaptable, welcoming, and highly functional environment.
Founded in the mid-1970s by visionary educators at Kearney State College, MONA opened in 1986 in the former Kearney Post Office building, itself a historic structure dating back to 1911 and listed on the National Register of Historic Places. A 1993 addition expanded the museum, but with its collection now exceeding 5,000 works, space remained tight.
The latest expansion, supported by a $36.5 million capital campaign, included renovation of both existing buildings and a new 23,800 sq. ft. addition by BVH Architecture.
At the heart of the expansion is “The Link,” a central circulation space connecting the historic post office, the 1993 addition, and the new building. The architectural highlight is an origami-inspired ceiling of mass timber, a reference to Nebraska’s migratory cranes.
Lighting above the coffers combines randomized arrays of GE Current A19 LED lamps—arranged in controllable zones to shift from uniform brightness during the day to dramatic contrast at night—with iGuzzini Laser Blade downlights providing task-level illumination. Vode linear uplights frame the perimeter.
Together, these elements create both texture and mood, reinforcing The Link as a welcoming lantern-like beacon visible from the street.
Suspended within the space, DMF Lighting pendants were customized so their stems disappear seamlessly into the timber without canopy plates. The collaboration with DMF produced a detail that feels delicate, almost candlelit, enhancing the warmth of the wood.
The galleries rely on ERCO Parscan track fixtures, selected after a lifecycle cost analysis comparing halogen and LED options. ERCO’s superior optics and efficiency justified the higher initial investment by reducing fixture counts and long-term operating costs.
Flexibility was paramount. Swappable lenses, Casambi Bluetooth controls, and integration with the Crestron system allow curators to reprogram lighting directly from phones or tablets. Digital scene settings create tailored moods for rotating exhibitions and special events, eliminating the need for ladders or manual adjustments. Museum staff were trained by ERCO to master aiming, spacing, and lens swaps, giving them full control of their environment.
Upstairs, glulam beams were paired to conceal tracks, sensors, fire protection, and wiring within cavities. This coordinated detail kept the ceiling visually clean and emphasized the art at eye level—a solution born from collaboration between lighting designers, engineers, and architects.
Circulation spaces on the gallery level were also a focus. Bright thresholds between galleries introduce daylight, aiding orientation without risking UV damage to artworks. Visitors can always see an illuminated path forward, reducing the disorientation often associated with windowless museums.
One of the most striking features is the visible art storage, a trend gaining traction among museums. John explained that most art in any collection typically remains unseen in storage, so why not use light to bring those hidden works into view?
Behind a glazed wall in the basement, visitors now stand just feet away from artworks not on display. Lighting is deliberately understated: a soft ambient glow with carefully aimed ERCO track fixtures to eliminate glare and reflections. Step lights direct light to the floor only, maintaining transparency into the environmentally controlled art storage room while respecting conservation needs. The effect is intimate, giving visitors the sense of privileged access to treasures usually locked away.
Exterior lighting underscores MONA’s welcoming presence. Wooden canopies are softly uplit by in-ground fixtures, continuing inside the vestibules to create seamless transitions. Handrail-integrated lights guide visitors, while sculptures are highlighted with precisely mocked-up placements. Together, these strategies extend the museum’s identity outward into the surrounding community.
The new lighting design is adaptable, sustainable, and deeply integrated with the architecture. Its layered systems provide curatorial flexibility while enhancing circulation and wayfinding. Digitally set scenes support everything from daily gallery use to evening receptions, enabling MONA to diversify its programming and strengthen its role as Nebraska’s cultural hub.
Completed in 2025, the expansion ensures that MONA’s mission—to celebrate Nebraskan artists and connect the public with their work—will shine brightly for decades to come.
