Professional Documents
Culture Documents
Visual
experiences
W
: hetherthefocusisartorscience,
technologyorhistory,thepresentation
needstobeappealing,interestingand
varied.Andthatiswherelightingplaysan
importantrole:itcreatesvisualexperiences
inanyexhibition,ithelpsmodulateand
accentuatethevisuallandscape,itenhances
theimpactoftheitemsondisplay.The
visualambiencemustnotcausefatigue.On
thecontrary,itshouldstimulatebutnot
confuse.Inlargebuildings,differentiated
roomdesignisalsoarequirement.
Lightspaces:
Lightingisvitalforspatialimpressionandenjoymentofart.Differentlightcoloursandbeamspreads,differentdesignsand
arrangementsofluminairesandlampscreatedifferentlightingsituationslightspacesdesignedtomeettherelevantneeds
oftheexhibition.
Specialattentionneedstobepaidtoconservationrequirements.Lightprotectionplaysanimportantroleinanyexhibition
room.
Thereismoretoamuseumthanjustwhatitdisplays;itisalsoaplaceofresearch,wherecollectionsarestored,preservedand
managed.Onlyintherightlightingcanmuseumstaffworkeffectively.Lightingalsodrawsattentiontotrippinghazardsand
reducestheriskofaccidents.Soalthoughthelightingdesignerhasagreatdealoffreedominexhibitionrooms,functional
lightingmustalwaysbeprovided.
Action of light :
The design and configuration of exhibition room lighting depends on many planning parameters. Foremost amon
Roomlighting:
Diffuselighting:
Lightingforexhibitionroomsinmuseumsismadeup
ofdiffuseanddirectionallight.Therelativeamounts
andresultingmixofthetwotypesoflightdetermines
theharshnessoftheshadowscastbypictureframesand
thethreedimensionalimpactofsculpturesandspatial
objects.Thediffuseanddirectionallightmixalsode
finestheoverallimpressionmadebytheroom.
Diffuselightingilluminatesroomzonesorobjects
fromasurfacethatradiateslightinalldirections.At
thesiteofillumination,i.e.intheroomzoneoratthe
objectilluminated,thedirectionfromwhichthelight
comescannotbeclearlydetermined:thelightflow
ingintotheroomandovertheobjectsisnot
directional.Whereitcomesfromverymany
directions,i.e.wheretheradiantsurfaceislarge,the
lightingproduceslittleornoshadowing.
Acloselyrelatedmatterhereisthedistinctionbetween
roomandexhibitlighting.Thediffuselightingisalmost
allgeneratedbytheroomlighting,whichdetermines
Exhibitlighting:
thedistributionofbrightnessandsetslightingaccentsin
thehorizontalplane.
Exhibitlightinguseshardedgeddirectionallightto
accentuateindividualitemsondisplay.Asageneral
Roomlightingaloneisrarelyenoughtomeetallan
rule,itneedstobesupplementedbysofterroom
exhibitionsneeds.Conversely,thedirectionallighting
lighting.Exhibitlightingbasedonspotsaloneis
usedtoilluminate
advisableonlywhereaparticularlydramaticeffectis
required.
exhibitsdoesnotprovidebrightenoughroomlighting
exceptinafewmostlysmallandbrightinteriors.
Otherwise,astimulatingspatialexperienceisobtained
withamixofdiffuse(room)anddirectional(exhibit)
lighting.
Directionallighting:
Directionallightingisgeneratedmostlybypunctual
lightsourcesi.e.lampsthataresmallinrelationto
thelightingdistanceorspotsofsimilardesign.The
lightfallsdirectlyontotheobjectilluminated,
strikingit,orpartsofit,atanangledefinedbythe
geometryofthelightingarrangement.Wherethe
surfaceoftheobjectisuneven,clearlydefined
shadowsoccur.Theseenhancethevisualimpactof
threedimensionalsurfacesbutcanalsobeasource
ofvisualinterferenceiftheyaretoodominantortoo
large.
Diffuse/directionallighting:
Inmanyapplications,lightcannotbeclearlydefinedaswhollydiffuseorwhollydirectional.Thisisthecase
wherethesurfaceradiatingthelightisneitherlargenorpunctuale.g.aspotwithadiffuserdisc.Dependingonthe
diameterofthediscandonthelightingdistance,shadowsarenarrowerorwider,harsherorsofter.
Diffuse/directionallightingalsooccurswhereasurfaceisilluminatedorbacklittoproducediffuselightingandpartof
thelightismadetoradiateinaparticulardirectionandisthuspartiallydirectional.Thedirectionfromwhichthelight
comescanbeseenontheobjectsilluminated.However,theshadowingthatoccursonexhibitsislessclearlydefined
thanifthelightwereentirelydirectional.Themodelingisrenderedmoresubtlebythebrighteningeffectofthediffuse
lightingcomponent.
Diffuse/directionallightingcanalsobeproduced,forexample,bylinearlampsinappropriatelydesignedluminaires.
Here,shadowingdependsonthepositionoftheluminaireinrelationtothepicture:wallwasherswithtubularfluorescent
lampsmountedhorizontallyorparalleltotheupperedgeofthewallproducehardedgedshadowsbeneathhorizontal
pictureframes,whereastheshadowscastbytheverticalpartoftheframearebarelydiscernible.
Avoidingcastshadows:
Directionallightproducesformshadows.Whereitalsoresultsincastshadowsonneighboringobjects,thehardcontours
andobscureoriginofsuchshadowsaredisturbing.Castshadowsareavoidedbyensuringanappropriatemixofdiffuse
anddirectionallight,correctpositioningofthelightsourceproducingthedirectionallightorappropriatepositioningof
theilluminatedobjectsinrelationtooneanother.
Themostimportantlightingsystemsusedinexhibitionroomsare:
?wallwashers(directionalor
diffuse/directional),
?indirectluminaires
(diffuse),
?spotlamps.
Exhibitsinthelimelight:
Medium-scale, large and very large exhibits and the light that falls on them are seen to full effect only from a dist
Whatkindoflighthaswhatimpact?
Anexhibitinthelimelightis(almost)alwaysanexhibitindirectionallight.Whathappenswhenchangesaremadein
directionoflightandbeamangle?Whatdoobjectslooklikewithandwithoutbrightsurroundings?Whatdifferencecan
luminaireaccessoriesmake?Answersarefoundinthephotographsonpage7,whereaportraitandanonfigurative
paintingarepresentedasexamplesoftwodimensionalpicturesandafragmentofanancientsculptureandaredvasefor
threedimensionalobjects.
Basicallyspeaking,theimpactofanychangeontheserelativelysmallexhibitsisthesameforlargescalepicturesand
objects.Theonlydifferenceisthattheyneedmorelight:higherpowerlampsorgreaternumbersofspotsneedtobeused
forilluminatinglargeobjects.Averylargeobject,suchasacaroraplane,canalsobeilluminatedfromseveralpoints.
Thismakesforstrikingvisualimpactfromvariousviewingangles.
Calculationoftheoptimalpositioningofa
luminaireforpicturesonawallroomheight,
observationzone,sizeofpictureandoptimal
viewingangle(fig.onleft)aretheparameters
definingtheoptimalpositionofawalllighting
luminaire.Theupperedgeofthepicture
determinesthespotlightopeningangle(B:
30,C:60)withaconstantangleof
inclinationof30.Angleslessthan30can
resultinreflectionsattheupperedgeofthe
picture(criticalobservationzone).The
mathematicalformulaforcalculatingthe
distancexbetweenspotlightandwallfor
illuminatingapicturewiththeheightyis:x
=ytan30(fig.onright).
Directionallighting(left)
accentuatesexhibits,planarlighting
(right)makesforuniform
illumination.
Day light :
Interior lighting with daylight is an architectural challenge that absolutely must be addressed and resolved at the
Daylight museum:
Public museums built in the first half of the 19th century had to rely on daylight. From early times, architects inco
For a long time, despitethe availability of artificial lighting, every new museum was built as a daylight facility. But
Today, our knowledge of lighting engineering coupled with modern control and regulation technology makes it po
If daylight and artificial light are mixed, their rays should be fully blended be- fore they fall on an exhibit. This als
thelampsusedforartificiallightingradiatelightof
particularcolours,whilethespectralcompositionof
daylightchangesallthetime.Inaddition,thetwo
havedifferentanglesofincidenceanddifferentbeam
angles.Thisgivesrisetoconflict;theappearanceof
exhibitsisdistortedifthetwolightformsarenot
fullyblended.Theonlyalternativetoblendingis
segregation.Thismeanskeepingthedaylightzone
andthezoneilluminatedbyartificiallightfarenough
aparttoensurethatthetwotypesoflightdonot
interferewithoneanotherunlessthetwilightis
deliberatelyusedtocreateaparticularatmospherein
theroom.
Light
protection :
Fading,yellowing,darkening,discoloring,twisting,bending,splintering,tearing,
swelling,shriveling,shrinking,dissolvingitsoundslikeadirelistof
consequences.Inactualfact,exhibitsdisplayedindaylightorunderartificiallighting
arenotnormallyexposedtomorethanoneofthesehazards.