Photos: Michael Robinson Photography
By Michele Zimmerman
When you think of the Orlando International Airport (MCO), you may think of large crowds dressed in their best Disney, Star Wars, or Harry Potter-themed attire, or perhaps, your mind goes to the airport’s former moniker, McCoy Air Force Base. If you’re from the Sunshine State, you may even know some “deep-cut” trivia about the travel hub such as the location of the permanently on-view, hyper-realistic sculpture The Traveler, by Duane Hanson, which depicts a sleeping tourist and his belongings, or that the airport was once a designated emergency landing spot for the now-retired Space Shuttle. What you probably don’t know is that MCO’s newly renovated Terminal C is designed to celebrate Florida’s naturally beautiful elements: sea, sky, and light; the terminal hosts a lighting scheme fashioned to evoke all three as travelers find their way to their next great adventure.
Through long-term collaborative relationships with the project’s architect of record (HNTB) and the design architect (Fentress), lighting design firm HLB was brought onto the scene of the nearly $3 billion project in 2016. Though Terminal C was open for use in 2022, the full scope of the firm’s work, including the design of electric lighting, daylighting, and the lighting control system, wasn’t complete until 2023. However, HLB isn’t finished with MCO just yet—it is currently working on a Phase 1 Expansion of the South Concourse that will provide one of the nation’s top 10 busiest airports with additional gates.
A split, 70-ft-high feature wall inside the terminal with dynamically illuminated acrylic “fins” captures the movement and essence of Florida’s various warm waters. HLB Associate Principal Darcie Chinnis explained how the team achieved the effect: “Throughout the design process, careful attention was paid to how light could be effectively delivered but also support the themes of sky and water…RGBW tape light with per-pixel control from Enttec was provided to edge light architectural fins. Fixtures were programmed to overlap multiple dynamic effects to create an experience of water dripping down a window, for example.” Each side of the wall spans 80 ft across and features 32 of the 8-ft-tall blue-hued fins.
Center: Pseudo-randomized pendants hang in higher concentration in busier areas of the atrium.
As fitting for the mode of travel taken via MCO, the airport’s lighting scheme encourages visitors to look skyward. Throughout the Boulevard, a skylight atrium, a mixture of integrated daylighting and electric lighting guides travelers through the space—making the journey through ticketing, TSA screening, passenger boarding bridges, baggage claim, and other areas, one of ease. Large LED pendants by SPI hang over the Boulevard walkway and are seemingly scattered—but there is a method to the design madness. Fixtures in 1.5-, 6-, and 12-in. diameters in 2-, 4-, 8-, 12-ft, and additional custom lengths provide downlighting and appear to glow. “The randomized design of the Boulevard ceiling’s pendant lighting was carefully curated to provide higher concentrations of increasing scale that drop farther down into areas of high activity,” explained Chinnis. “The design also tucks tighter to the skylight using smaller fixtures more sparsely arranged in areas of lower activity. All circulation linear lighting was oriented so that the fixtures are perpendicular to the path of travel to help support wayfinding goals.” Chinnis also noted that the Boulevard pendant lighting is unique to MCO and enhances the airport’s identity while supporting the aesthetic of the Everglade State.
In addition to the pendant lighting, uplights by Insight Lighting and Traxon add color-changing flair to the Boulevard. Visible from the landside of the terminal and the airside, Aviation Authority-approved “light shows” celebrate various holidays and offer “late-night, space-theme” scenes. At the North Concourse and through the center of the West Concourse, additional color-changing fixtures also display holiday hues in addition to a static blue to match the Aviation Authority’s signature look.
Electric lighting components also support airside wayfinding. “RGBW lighting was employed specifically at gate locations to help create visual demarcations of decision points, in addition to elevated architectural lighting solutions that involved quiet slot-mounted cylinder downlights to create a more hospitality-like feeling,” Chinnis added.
Varied IGUs create the effect of dappled sunlight in the Boulevard.
The sky of the grand skylight atrium adds a memorable element to the terminal. “The project presented an amazing opportunity to effectively integrate daylight throughout the passenger experience and celebrate the architectural theme focused on Central Florida’s essence,” said Chinnis. “The thoughtful and careful design of the pattern of glazing within the atrium was an expected challenge, but the result of the design is a stunning integration of daylight into the main space.”
Daylighting specialists from HLB together with the architectural team created another pseudo-randomized pattern, but this time with insulated glass units (IGUs). IGUs with three different transmittances not only provide higher light levels in certain sunny spots but also increase light control in certain areas such as the customs checkpoint with “restrictive constraints on contrast,” said Chinnis. The pattern creates the effect of sunrays through a tree canopy. As a result, passengers can enjoy an elevated travel experience: the feeling of sunlight spilling through palm leaves as they make their way toward amenities or wait to board their planes.
the Designers | Darcie Chinnis, Member IES, is an associate principal with HLB.
Shelby Allen, Member IES, is an associate with HLB.
Teal Brodgen, Member IES, is a senior principal with HLB.
Michael Lindsey, Member IES, is an associate principal with HLB.
Amaia Puras Ustarroz, Member IES, is a senior associate with HLB.
Sam Hewett was formerly an associate with HLB.
Hayden McKay was formerly a principal with HLB.
