DISSERTATION
Year: 2020 21 Batch No. 18
Undertaken by: Komal Lakhyani Enrollment No.: 16E1AAARF40P049 V Year B.Arch. (B)
Prof. PARUL Prof. ARCHANA SINGH
ISI 4, RIICO Institutional Block, Sitapura, Jaipur 302022
The study titled “Lighting design in museum” is hereby approved as an original work of Komal Lakhyani, enrolment no. 16E1AAARF40P049 on the approved subject carried out and presented in manner satisfactory to warrant its acceptance as per the standard laid down by the university. This report has been submitted in the partial fulfillment for the award of Bachelor of Architecture degree from Rajasthan Technical University, Kota.
It is to be understood that the undersigned does not necessarily endorse or approve any statement made, any opinion expressed or conclusion drawn therein, but approves the study only for the purpose it has been submitted.
December 2020 Jaipur
EXTERNAL EXAMINER 1
EXTERNAL EXAMINER 2
Prof. K.S. MAHAJANI PRINCIPAL Prof. ARCHANA SINGH COORDINATORI, Komal Lakhyani, here by solemnly declare that the research work undertaken by me, titled ‘Lighting design in museum’ is my original work and wherever I have incorporated any information in the form of photographs, text, data, maps, drawings, etc. from different sources, has been duly acknowledged in my report.
This dissertation has been completed under the supervision of the guide allotted to me by the school. Further, whenever and wherever my work shall be presented or published it will be jointly authored with my guide.
V Year B.Arch. (B)
Aayojan School of Architecture, Jaipur
This is to certify that the research titled, Lighting design in museum is a bonafide work by Komal Lakhyani of Aayojan School of Architecture, Jaipur. This research work has been completed under my guidance and supervision in a satisfactory manner. This report has been submitted in partial fulfillment of award of BACHELOR OF ARCHITECTURE degree from Rajasthan Technical University, Kota.
This research work fulfills the requirements relating to the nature and standard laid down by the Rajasthan Technical University.
I take this opportunity to express my thanks to the Principal & Director of my institute, Prof. K.S. Mahajani for providing a suitable and healthy learning environment even during the tiring times like the COVID 19 pandemic.
I also wish to thank Dean Academic Affairs, Prof. N. S. Rathore for his support and continued guidance, throughout the undergraduate course journey.
I earnestly thank the Dissertation & Thesis Seminar coordinator Prof. Archana S. Rathore for providing this prospect to conduct this research study and her valuable guidance and timely encouragements.
Furthermore, I would like to acknowledge with much appreciation and indebtedness for Prof. Parul for her support, critiques, advice, unwavering patience and perseverance throughout the course of this research and the semester.
I sincerely appreciate all the guides, external reviewers and jurors as well as other faculty members who provided suggestions for the completion of this undergraduate research project.
I would also like to thank my parents for their constant support and encouragement. Last but not the least, my friends and anyone remotely involved for making this journey an enjoyable experience.
V Year B.Arch. (A/ B/ C)
Aayojan School of Architecture, Jaipur
A museum is a place to discover, explore and learn about the past, present and future of creativity, as well as history. Lighting plays a significant role in developing interaction between humans and museum artifacts in one defined space. " Museums are places where lighting design is critical to the overall experience”.
In this perspective, light fulfils a highly regarded double role: to reveal the object itself (physiological function) and “to generate ambience” (significance function) where the statement is produced and, therefore, it takes part of the statement in an implicit form. However, lighting together with other environmental conditions (like temperature and humidity), can modify objects’ properties significantly throughout their exhibition time, leading to deterioration. Therefore, there is always a dilemma to solve: Exhibition versus Preservation. High standards of preservation may lead to poor conditions of exhibition. On the other hand, a stimulating ambience for exhibition may expose valuable objects to lower preservation standards.
This paper explores the relationship between the exhibition of artwork or historical pieces in museums and the role of lighting as generator of an ambience where a story is told. This research component is significant to understand the complexity and various facets of overall museum lighting design. This study evaluates both the quantitative and qualitative aspects of lighting design in museums. Psychological, physiological and experiential components are observed in the museums’ environments to analyze lighting design within its exhibits. My observations and knowledge gained by this study will help influence and enhance the design of the Maritime Museum, Lothal.
Approval ii
Declaration iii Certificate iii Acknowledgement iv
Abstract v Contents vi vii List of illustrations viii xv
CHAPTER 1: Introduction 1 4
1.1 Background & Need of the study
1.2 Criteria of Selection
1.3 Hypothesis
1.4 Aim
1.5 Objectives
1.6 Scope
1.7 Methodology
CHAPTER 2: Lighting parameters, systems and elements 5 – 19
2.1. Light related damages to museum exhibits
2.2. Lighting design parameters
2.3. Exhibit lighting elements
2.4. Lighting systems used in exhibition rooms
2.4.1.Luminous ceilings with opal glass enclosure (diffuse light) 2.4.2.Indirect luminaires (diffuse), 2.4.3. Cove luminaires (diffuse), 2.4.4.Wall washers (directional or diffuse/directional), 2.4.5. Spot Lamps
2.4.6. Showcase Lighting
3.1. Evolution of daylight in a museum
3.2. Natural Lighting in Museum
3.3. Benefits of daylighting in museums
3.4. Methods of Natural Lighting
3.5. Case studies
3.5.1. Artificial Lighting
3.5.1.1. Erbach’s german ivory museum
3.5.1.2. Yves Saint Laurent Museum in Marrakesh
3.5.1.3. Maritime Museum of Denmark
3.5.1.4. Exhibition in Zwinger Palace in Dresden
3.5.2 Day Lighting
3.4.2.1. Kaap Skil Maritime Museum, Netherland
3.4.2.2. Osaka Bay Maritime Museum
3.4.2.3. Museum of Country Life, Ireland
3.4.2.4. Voyager Maritime Museum
4.1. Comparative Analysis of Artificial Lighting in Museum
4.1.1. Types of Exhibit, nature and its placement
4.1.2. Placement and type of light
4.1.3. Color Temperature and Lighting Methods
4.1.4. Light as story telling element (Projections on wall)
4.2. Comparative Analysis of Artificial Lighting in Museum
4.2.4. Types of Exhibit, nature and its placement
4.2.2. Solar Radiation and Controlling Technique
4.2.3. Medium of Natural Lighting in Museum
4.2.4. Display of Exhibits and Lighting Technique
4.3. Swot Analysis for Natural Lighting in a Museum
5.1. Conclusion
5.2. Design Recommendations
5.2.1. Museum Lighting Techniques
5.2.2. General Lighting and Accent Lighting Tips
5.2.3. Preventing UV Damage
5.2.4. Daylighting a Museum
5.2.5. Visual Adaptation and Accomodation
5.2.6. Calculation for artificial Lighting in Museum Exhibition Spaces
GLOSSARY OF TERMS xvi
BIBLIOGRAPHY xvii ANNEXURES (A/ B/ C) xviii
Figure Illustration Title Page No. Source
1.1. Display of Artefacts in a museum 02 https://www.ancient.eu/image/12945/portuguese furniture and artefacts/ 1.2. Aims of lighting design in museum 03 Author
2.1. Variation in color temperature (Source: Adobe Photoshop)
2.2. Lighting technique for 2 D and 3 D exhibit)
2.3. Lighting effects (Source: Sketchup and Lumion)
2.4. Comparison of lighting by different types of artificial light
2.5. Spectral output by different types of artificial light
2.6. Comparison of effects of LED and Halogen bulb
2.7. Lighting exhibit by directional and diffused light
09 https://www.sylvania lighting.com/documents/documents/Museums%20 and%20Galleries%20 %20Brochure%20 %20English.PDF
10 http://www.madesignstudios.com/design/lighting for museums and art galleries.html
10 Author
11 Author
11 http://www.nouvir.com/pdfs/MuseumLighting.pdf
12 http://www.nouvir.com/pdfs/MuseumLighting.pdf
13 https://www.licht.de/fileadmin/Publications/licht wissen/0703_lw18_E_light_museums_galleries_web. pdf
2.8. Luminous Ceiling 14 http://egdk.ttu.ee/files/parnu2011winter/Parnu2011 _winter_076 079.pdf
2.9. Indirect Lighting producing diffused light
2.10. Cove lighting detail with a linear fluorescent source
2.11. Calculation for the placement of wallwashers
14 http://egdk.ttu.ee/files/parnu2011winter/Parnu2011 _winter_076 079.pdf
15 https://www.architectmagazine.com/projects/cov e lighting_o
16 http://ieslightlogic.org/lighting design 101 wall grazing and washing/
2.12. Calculation for spotlight placement for 2d exhibit
2.13. Calculation for spotlight placement for free standing 3D exhibit
2.14 Different beam spreads and nature of light (Software: Sketchup & Lumion)
16 https://www.licht.de/fileadmin/Publications/licht wissen/0703_lw18_E_light_museums_galleries_web. pdf
16 https://www.inexhibit.com/case studies/light sources for exhibition design part 1/
16 Author
2.15. Different beam spreads for spotlight 17 https://www.penglight.com/what are light distribution types defined by iesna and nema/ 2.16. Illustration of showcase lighting 18 http://egdk.ttu.ee/files/parnu2011winter/Parnu2011 _winter_076 079.pdf
2.17. Power grid system in exhibition spaces 19 https://www.architonic.com/en/product/grid system aps grid exhibition/1211767
3.1 Importance of daylight in a Museum
23 https://www.reminetwork.com/articles/the importance of daylighting in building design/
3.2. Daylighting by Side light opening 24 https://www.arup.com/perspectives/publications/ promotional materials/section/rethinking lighting in museums and galleries
3.3 Daylighting by Top light opening 24 https://www.arup.com/perspectives/publications/ promotional materials/section/rethinking lighting in museums and galleries
3.4. Daylighting by Windows 25 https://digital.library.txstate.edu/bitstream/handle/ 10877/3203/fulltext.pdf?sequence=1
3.5. Daylighting by Clearstories 25
3.6. Light from above, more light falls on horizontal Space near middle as compared to edges
3.7. Light from the side, it has to travel more and thus, results in lower illuminance on both horizontal spaces
26 https://www.licht.de/fileadmin/Publications/licht wissen/0703_lw18_E_light_museums_galleries_web. pdf
26 https://www.licht.de/fileadmin/Publications/licht wissen/0703_lw18_E_light_museums_galleries_web. pdf
3.8. Light Shelf 26 https://planlux.net/sources of natural light sunlight strategies/
3.9. Light Well 26 https://planlux.net/sources of natural light sunlight strategies/
3.10. Roof Monitors 26 https://planlux.net/sources of natural light sunlight strategies/ 3.11. External Reflectors 26 https://planlux.net/sources of natural light sunlight strategies/ 3.12. Light Duct 26 https://planlux.net/sources of natural light sunlight strategies/ 3.13. Reflective Blinds 26 https://planlux.net/sources of natural light sunlight strategies/ 3.14. Clearstory 27 https://planlux.net/sources of natural light sunlight strategies/ 3.15. Atrium 27 https://planlux.net/sources of natural light sunlight strategies/ 3.16. East facing skylight at 45 degree slope of roof. It will deliver less light as compared to identical skylight at flat roof.
27 https://www.wbdg.org/resources/daylighting 3.17. Skylight with straight sides 27 https://www.wbdg.org/resources/daylighting 3.18. Skylight with angled sides, intercept more sunlight, giving a more uniform light.
27 https://www.wbdg.org/resources/daylighting
3.19. Top Lighting in Louvre Museum 28 https://www.arup.com/projects/louvre lens museum 3.20. Skylight placement 28 https://www.energy.gov/energysaver/design/wind ows doors and skylights/skylights 3.21. Clearstory placement 28 https://www.energy.gov/energysaver/design/wind ows doors and skylights/skylights
3.22. Showcase Lighting and pier lighting of the Ivory Museum
3.23. Frosted glass giving a feeling of exhibits Emerging from a icy haze
30 https://www.iald.org/News/In the News/IN THE SPOTLIGHT German Ivory Museum
31 https://www.iald.org/News/In the News/IN THE SPOTLIGHT German Ivory Museum
3.24 Existing wall displays use linear LED fixtures to highlight the contents
3.25. Illustration of showcase in museum
31 https://www.arc magazine.com/the german ivory museum germany/
31 https://www.iald.org/News/In the News/IN THE SPOTLIGHT German Ivory Museum
31 Author 3.27. Exhibition room showcasing the textiles and jewellery by famous designer in a black box
3.26. Plan showing showcases are placed along the circulation platform
32 https://www.trends.lighting/yves saint laurent museum in marrakesh by erco 3.28. Exhibition room having an attractive and eye catching entrance
32 https://www.erco.com/projects/culture/yves saint laurent museum marrakesh 6912/en/ 3.29. Plan of Yves Saint Laurent Museum 33 https://www.world architects.com/ja/topics/light 01/glamour at yves saint laurent museum 3.30. Exhibiting YSL Logo in courtyard of museum
33 https://www.lightchitects.com/yves saint laurent 3.31. View of Museum in a dock 34 https://www.architectmagazine.com/awards/ann ual design review/danish maritime museum_o 3.32.. Sloped bridges cross the void Of the former dry embedded with Leds illuminating the pathways
34 https://www.dezeen.com/2007/09/15/danish maritime museum by bjarke ingels group/ 3.33. Plan of Danish Maritime Museum . Exhibition rooms are placed around the dock
34 https://www.architectmagazine.com/al design awards/2014 al design awards danish national maritime museum helsingor denmark_o
3.34. In the first gallery, lighting is projected from a buoy and casts navigational coordinates on the floor, setting the stage for the visitors’ “maritime” journey
35 https://www.dezeen.com/2007/09/15/danish maritime museum by bjarke ingels group/ 3.35. The exhibits are designed to engage visitors with dynamic
35 https://www.architectmagazine.com/al design awards/2014 al design awards danish national maritime museum helsingor denmark_o
displays of images and objects
3.36. Blue LED mark the former waterline of the dry dock
35 https://www.architectmagazine.com/al design awards/2014 al design awards danish national maritime museum helsingor denmark_o
35 https://www.architectmagazine.com/al design awards/2014 al design awards danish national maritime museum helsingor denmark_o 3.37.. Projected seascape images on the gallery walls add a dynamic lighting element while giving visitors the feeling that they are at sea
3.38. Illuminating the exhibits by fiber optic system
3.39. Delicate objects are protected by reflective glass cases to avoid glare.
3.40. Large exhibits are presented free standing
36 https://www.zumtobel.com/PDB/teaser/EN/Project _report_ZwingerDresden.pdf
37 https://www.zumtobel.com/PDB/teaser/EN/Project _report_ZwingerDresden.pdf
37 https://www.zumtobel.com/PDB/teaser/EN/Project _report_ZwingerDresden.pdf
3.41. Interior of Kaap slik maritime museum 37 https://newatlas.com/maritime beachcombers museum/22039/ 3.42. Analytical Exploded Axo 38 https://newatlas.com/maritime beachcombers museum/22039/ 3.43. Site plan of Kaap slik Maritime Museum
39 https://inhabitat.com/1am brightly lit maritime beachcombers museum opens in the netherlands/maritime and beachcombers museum mecanoo architecten 4/
38 https://inhabitat.com/1am brightly lit maritime beachcombers museum opens in the netherlands/maritime and beachcombers museum mecanoo architecten 4/ 3.44. The movable showcases of robust steel frames and glass create a transparent effect so that the objects in the collection seem to rotate within the space
3.45. Derivation of form 39 s://www.cnet.com/news/shipwrecked silk dress survives 400 years under water/ 3.46. Visitors feel an expansion of space due to brightly lit second floor
40 s://www.cnet.com/news/shipwrecked silk dress survives 400 years under water/ 3.47. Lighting analysis 40 s://www.cnet.com/news/shipwrecked silk dress survives 400 years under water/
3.48. In the basement visitors are drawn around the exhibition by projections and animations, creating an intimate space that harbours a sense of mystery
40 https://newatlas.com/maritime beachcombers museum/22039/
3.49. Artificial light in the basement basement creates a contrast to the day lit upper floors
40 https://newatlas.com/maritime beachcombers museum/22039/ 3.50. Dome structure of Osaka Bay Maritime Museum
41 https://www.hda paris.com/project/maritime museum osaka japon/ 3.51. Lamimetal glazing provides shade 41 https://www.arup.com/projects/osaka maritime museum 3.52. The bridge leading to core areas giving an image of sea
42 https://www.arup.com/projects/osaka maritime museum 3.53. 73m diameter glass dome IN Osaka bay, designed to protect a full scale replica Japanese ship
42 https://www.hda paris.com/project/maritime museum osaka japon/ 3.54. The mean solar radiation was projected as a series of contours of variable porosity
43 https://www.hda paris.com/project/maritime museum osaka japon/ 3.55. Translucent façade of Voyager Maritime Museum
43 https://architizer.com/projects/voyager nz maritime museum/ 3.56. Plan of Voyager Maritime Museum 44 https://archipro.co.nz/project/voyager nz maritime museum bossley architects 3.57. Blue Water Black Magic 44 https://architizer.com/projects/voyager nz maritime museum/ 3.58. Internal spaces lit by soft light transmitted from double skin multi cellular polycarbonate facade
3.59. View of the interior to show the window space contrasted with the low level
44 https://archipro.co.nz/project/voyager nz maritime museum bossley architects
45 https://www.museum.ie/en IE/Museums/Country Life/Visitor Information/About The Museum/History and Architecture
3.60. Plan of screening 46 https://www.museum.ie/en IE/Museums/Country Life
3.61. Section of screening 46 https://whichmuseum.com/ireland/turlough/nation al museum of ireland country life
5.1. Lighting technique for exhibit in showcases 59 https://www.iald.org/News/In the News/IN THE SPOTLIGHT German Ivory Museum
5.2. Lighting technique for free standing exhibit against the wall
5.3. Calculation for placement of spotlight and wallwashers
59 Author
60 https://www.trends.lighting/yves saint laurent museum in marrakesh by erco
5.4. Lighting typologies for free standing exhibits 60 https://www.erco.com/projects/culture/yves saint laurent museum marrakesh 6912/en/
5.5. Flexible (temporary) Exhibition spaces by the use of track lights
5.6. Spotlight as wallwasher having a oval flood beam spread
5.7. Spotlight as directional light having beam spread of 11° 25°
60 Author
61 https://www.erco.com/projects/culture/yves saint laurent museum marrakesh 6912/en/
61 Author
5.8. Different sources of artificial lighting 61 Author
5.9. Direct sunlight should be avoided as it has UV and IR rays
5.10. The window placed behind the exhibit reduces visibility and produces glare
62 Author
62 Author
5.11. Comparison of various daylighting strategies
5.12. Screening wall at the front of windows leads to lower lux level inside giving a seeprate scope of view to the outer world.
5.13. Display of objects should be brightest in the view
62 Author
62 Author
63 Author
5.14. Plan of placement of Luminaires 65 https://www.erco.com/projects/culture/yves saint laurent museum marrakesh 6912/en/
5.15. View from A 66 Author
5.16. Report of study of daylight factor in exhibition space
5.17. False colour representation of the LED and Halogen Lamps with dialux
66 Author
67 Author
A museum is a place to discover, explore and learn about the past. It's a place of research where collections are stored, preserved and managed. The goal of a museum is to create an interactive experience for the guests, as well as preserve the condition of artifacts. Therefore, lighting plays a very important role in developing interaction between humans and museum artefacts in one place.
Environmental conditions in museums are a key element in creating the appropriate exhibition space for both: visitors and museums’ collection (artwork or historic artefacts). Environmental conditions like light, humidity, air, temperature and pollution plays a very important role in maintaining the museum environment and need to be controlled.
Light is one of the greatest causes for deterioration in Museum collections. On one hand, if high level of preservation is done it leads to poor conditions of exhibitions. On other hand, if proper ambience and experience is made then it puts a negative impact on the preservation standards and thus conflicts with the museum's role in preserving the historical evidences and heritage. Preservation takes precedence over visibility to ensure that the object is available for future generations. For a museum, the role of light is an essential part of creating an atmosphere prime for discovery, while also preserving artifacts. There are three tasks for the lighting in museums, visibility of objects, conservation of objects, and illumination of rooms, which can be realized by daylight and/or artificial light. A good visibility of objects needs a minimum brightness, good contrasts without cast shadows, good color reproduction, and avoidance of glare. The beauty and uniqueness of each piece of art could not be properly perceived and appreciated without a good lighting project of the museum exhibition space, able to create the proper color appearance of the artworks, the visibility of all details and the proper atmosphere in the exhibition space.
Lighting forms an essential part in designing the exhibition spaces in museums. So, it requires a specialized scientific approach and research for designing.
The effects from light damages varies from different materials from which objects are made, the type and intensity of the light they are exposed to and the duration of exposure. The damages from light on the artefacts are irreparable, Irreversible and these damages increase over the time.
Lighting plays an essential role in developing interaction between humans and museum artifacts in one defined space. " Museums are places where lighting design plays a critical role in developing the overall experience and ambience”.
Fig 1.1. Display of Artefacts in a museum
1) How light plays an important role in maintaining the museum environment?
2) how daylight can be incorporated in museums so it has least damage on artifacts?
3) What are the different design parameters for lighting in a museum?
4) How to protect collections from light damage?
5) What are the different factors that affect the damage caused by light on artifacts?
Appropriate lighting systems in museum will result in preserving as well as enhancing the beauty of artifacts.
The main aim of this study is to achieve ‘display lighting mantra’ i.e; creating a balance between visibility, interest, preservation and environmental considerations.
• To study the lighting parameters and systems to enlighten the museum and to preserve the artifacts.
• To compare the daylighting and artificial lighting techniques and their impact on managing the museum environment.
• To give recommendations for appropriate lighting in maintaining the museum environment and ways by which lighting should be designed in a museum.
“Architecture is the learned game correct and magnificient of forms assembled in the light”
Le Corbusier
The study would cover explaining the concepts of lighting, lighting systems and techniques, colors and visual perception with respect to the needs of museum. The study majorly talks about the management of museum environment through lighting designs. The main focus will be on lighting the artefacts through artificial and natural lighting techniques. The study will only be based on available literature such as books, literature review, online websites.
Deterioration caused by light on artefacts:
When the light falls on an object some physical and chemical changes begin to occur on the exposed surface. The molecule bond gets broken or some bonds are formed due to the energy from the light. The light energy gets absorbed by the object molecules known as photochemical deterioration. The damage is done not by the radiation that strike the object but by the rays it absorbs.
derived from once living plants and animals
wood, paper, textile, skin, horn, bone, ivory and shells.
sensitive to light
Classification of artefacts
have a mineral origin metal, stone, glass, ceramic not sensitive much to light
Shortest wavelength and have high energy.
It causes much damage to artefacts.
Damage is irreversible and increase over years. UV rays causes discoloration including yellowing or fading.
The light which gives us a sense of vision, which helps us to see. Its wavelength is between 500 to 760mm.
It darkens or bleaches the outer layer of paint, ink, dyes, wood, textiles, photos or plastic.
Classification of waves of natural and artificial lighting
IR rays heat the surface of objects causing disintegration and discoloration in materials.
It raises temperature. The sources of infrared radiation are sunlight, fluorescent bulbs, halogen lights and incandescent spotlights.
The rate of damage is directly proportional to the illumination level X the time of exposure.
Standards for visible light levels and time of exposure
Parameters, systems and elements
The excessive flash photography or photocopying of light sensitive materials causes damage and heat build up. Popular or iconic museum objects are likely to be heavily photographed or photocopied and therefore they are subjected to damage and fading.
Light sensitive materials are documents, blueprints, daguerreotypes (a photograph taken by an early photographic process employing an iodine sensitized silver plate and mercury vapor.
For avoiding these damages, flash photography should be prohibited for light sensitive materials on exhibit and limiting the photocopying of light sensitive materials.
The strength or intensity of visible light is referred to as the illumination level or illuminance. Illuminance is measured in lux or foot-candle. Lux is the amount of light flowing out from a source that reaches and falls on one square meter.
Foot candle is one lumen per square foot. One foot candle equals about 10 lux. Museums use lux or foot candles as units of measure.
UV is measured in units of microwatts (of UV) per lumen (of light), abbreviated to μwatts/lumen. To avoid damage, eliminate all UV radiation with emissions below 10 μwatts/lumen.
Lighting has a very important role in a museum. It is used to alter the mood of the exhibition area.
draw the eye to stunning artwork and sculptures. highlight and emphasize the texture, color and shape of exhibits whether it’s a 3d sculpture, 2D painting.
Color rendering is an important factor to take into account when lighting for museum. The color rendering index (Ra) gives a general indication of the rendering ability of a light source. A CRI of 100 is 'best or true', while those over 80 are considered good.
LEDs traditionally create white light by combining blue light with a yellow phosphor, making them lighting blur better than red or skin tones. To ensure this LEDs with CRI of>90 is used, to ensure vibrant red.
Source CRI
Halogen/Incandescent >95
Compact Fluorescent 82
Standard Metal Halide 65 LED 80 95
2.2.2. Color temperature of an LED gives information about whether it emits warm or cooler light. The higher the LED's color temperature, the cooler the resultant light will be. So, a cool white light has a temperature of 4000K, whereas a warmer light will have a color temperature of 2800K. Because of the color temperature not just the light color is changed it also affects the mood communicated to the visitor. A cooler white light will make the exhibit appear modern while the warmer will make space feel cozy.
Fig. 2.1. Variation in color temperature (Source: Adobe Photoshop)
Parameters, systems and elements
2.2.3. Lighting techniques:
For sculptures to be lit in a way that enhances the visitor experience, the contrast between light and shadow needs to be managed for maximum impact. The optimum angle of illumination for sculptures is 30 degrees, so that there is no shadow of users casted by onlookers.
Fig. 2.2 Lighting technique for 2 D and 3 D exhibit)
2.2.4. Lighting effects:
Group dimming creates a calm mood that draws the visitor closer to the object being displayed.
Individual dimming draws the visitor’s eye to a specific object but also gives highlighted object depth and context.
High level of contrast direct the visitor to key focal points.
Low levels of contrast creates a bright and airy space to welcome the visitor and allow them to explore the area as whole. Stark contrasts between light and dark, using accent lighting, causes the focal point to shine out. The contrast ratio for museum varies from 6 to 1, between the brightest and the dimmest objects.
Fig. 2.3. Lighting effects (Source: Sketchup and Lumion)
Lighting Parameters, systems and elements
2. Preservation 3. Conservation
2.3.1. Presentation:
No matter how much an artifact or object is beautiful, it requires light to transmit beauty to a viewer. Poor lighting designs create poor exhibit spaces which will make artworks or exhibits dull, lifeless or distorted.
Fig. 2.4. Comparison of lighting by different types of artificial light
Fig. 2.5. Spectral output by different types of artificial light
Lighting Parameters, systems and elements
So to ensure this NoUVIR fiber optic systems are used. It stands for No UV and no IR. It is also capable of protecting the artefacts from photochemical damage and it emits a spectrum very close to that of sunlight.
White LED have strong blue tint. LED generate blue light at 450mm to excite a white phosphor. The spectral output makes this distortion obvious.
The chocolate exposed to LED is unchanged. But the chocolate exposed to halogen bulb gets melted due to 94% IR and 1% UV. This shows not only the poor presentation but also poor standards of preservation.
Fig. 2.6. Comparison of LED and Halogen bulb
2.3.2. Preservation:
Light is either reflected by the object or it gets absorbed which further lead to photochemical deterioration. The UV and IR rays does not provides us vision. They only cause damage. The UV meters don't read UV above 300mm.
2.3.3. Conservation:
Bad lighting results in poor presentation and bad preservation. It also means that lighting is insufficient. It wastes power, generates heat. For every 1 watt of power used by lightning takes 3 4 watts of air conditioning to pump it out. A good lighting design can lower the Maintenance and labor costs.
The exhibits vary in sizes: medium scale, large or extra large. There are various type of exhibits like exhibits in showcases, free standing exhibits and exhibits on wall. To ensure that the artefacts are properly visible certain things need to be checked
1. Undesirable shadows and reflections on objects should be avoided. In case of direct lighting, the luminaries should be positioned in such a way that the distance from the exhibit is almost around a 1/3 height of the wall.
2. The shadows created by one object should not fall on neighboring object.
Lighting Parameters, systems and elements
3. The different patterns of light should not be used on walls or ceilings. This creates a visual interference and it diverts from the main motive of highlighting the artefacts. In case of directional lighting, the beam angle and direction of light plays an important role in lighting the museum.
4. Exhibits should always be brighter than the background and graphics around them.
Exhibition lighting: The lighting for exhibition rooms in museums is made up of diffused and directional light. The resulting of mix of the lights determines the harshness of the shadow casted by 3 D objects and the photo frames. The combined effect of diffused and directional light defines the overall ambience created in a museum. Exhibit lighting uses a directional light to emphasize the individual items on display. It needs to be supplemented by the softer room lighting.
Diffuse Lighting: Diffused lighting illuminates the room from a surface that radiates the light in all directions. The direction of the light cannot be determined that means it is not directional.
Directional Lighting: It is generated mostly by the point light sources. The light falls directly on the object, striking it. When the surface of the object is uneven, the shadows occur and enhance the details of the 3D artefacts.
Fig. 2.7. Lighting of exhibit by directional and diffused light
Lighting Parameters, systems and elements
It is used to create imitate daylight. It delivers light which is suitable for galleries, diffused with an opal enclosure and is partly directional. As luminous ceilings imitate daylight it has to produce a high level of illuminance, that is 500 1000 cd/m2 for high ceiling rooms having a clear height of 6m or above. The light sources are tubular fluorescent lamps arranged accordingly to structural grid of the luminous ceiling. In case the room heights are lower the ceiling loses its daylight quality and it occupies a large part of field of vision.
Fig. 2.8. Luminous Ceiling
Indirect lighting adds brightness without creating any direct or indirect glare. An impact similar to that of a luminous ceiling is achieved with the indirect light bounced off the ceiling and upper wall surfaces to the room. It gives a uniform and diffused light where daylight is not used. It is produced by suspended luminaries radiating light upwards.
In exhibition rooms, luminaires are inserted in track from above while spots for directional lighting are accommodated in the lower channel.
Fig. 2.9. Indirect Lighting producing diffused light
Lighting Parameters, systems and elements
Cove lighting is one of the basic lighting techniques, a type of up lighting that directs light to the ceiling plane from a cove on one or more sides of a room to provide overall diffuse illumination. It is also referred to as ambient luminescence. Cove lighting is typically mounted to or incorporated into a wall, but it can also be located within a ceiling coffer.
Cove lighting hides the fixture and provides a very even, soft light.
As a cove nears end wall, maintain a minimum clearance of 12 inches at inside corners to prevent hot spots.
Wallwashers have a wide beam characteristic. They are offered with an asymmetric light distribution. Criteria for wallwashers: choice of luminaire determines light color and light intensity emission angle determines the beam of light and is defined by the interchangeable lens uniform illumination of the wall with large luminaire spacing adjustable wallwashers allow individual adjustment to suit the spatial conditions focal emphasis through tilting of the luminaire snoot as accessory for improved visual comfort.
Lighting Parameters, systems and elements
a> h/3 a:d=1:1, 1:1.5 where, a = The offset from the wall for wallwashers d=distance between wall washers.
Fig. 2.11. Calculation for the placement of wallwashers 2.4.5. Spotlights: Spotlights direct most if the light in a particular beam direction. They are placed into a ceiling or on a ceiling. It is an effective technique for lighting 3d artefacts. This technique entails the use of key and fill lighting from 2 sides of an object. Key lighting is the focused light used to create shadows and highlighting the object's form and texture. Fill light is softer light drawn from the opposite side of the object shadow. It makes the appearance more natural. The spotlights can be dimmed individually.
Fig. 2.14. Cove lighting detail with a linear fluorescent source (Software: Sketchup & Lumion)
Direct spot: 6° and below
provides strong brightness contrast to the exhibits and environment, generates great visual impact. can be used in high roof space with great highlighting effect.
precise lighting and extreme uniformity, is available to use in high ceiling and attach visitors' full attention to exhibits.
Spot 15° with strong brightness focuses on exhibit, gives enough contrast as the environment and let the exhibit stands out. Flood: 25° 45°
Flood 26° creates a medium size, soft and bright lighting pattern, indicating the true texture of the exhibit. It is particular suitable for medium size paintings and three dimensional works. Broad flood: 45° 60°
Broad flood 47° with pure and soft lighting can perfectly presents the details of the exhibit to visitors; It is suitable for large flat exhibits and also good to use as background lighting of three dimensional exhibits. Oval flood
Oval flood 24°x54° provide s a vertical elliptical pattern lighting. It is perfect for calligraphy and painting artworks. Oval flood
Oval flood 54°x24° generates a horizontal elliptical pattern, soft long lighting, ideal for long strip paintings.
Showcases are miniature exhibition rooms. There are different exhibits showcased in the showcases and they need to be illuminated accordingly with diffused or directional light or both.
The type of lighting used in the showcase cabinets depends on the characteristics of exhibits i.e.; it's material, color, transparency, gloss or matte, structure. Some display cabinets are small, shallow (glass topped desks) and high or box shaped showcases. They mostly have an integrated lighting system and this results in eliminating glare and reflections which occur on the cabinet glass. In case of small cabinets, exhibits are mostly illuminated from the side while in case of high showcases, lighting from top from cabinet roof can be done. The ability to see into a display case is directly proportional to the ratio of the interior and exterior light levels.
Directional lighting Planar lighting for To highlight exhibit uniform illumination Fig. 2.16 Illustration of showcase lighting Revolving the exhibits
Some of the artefacts are not on permanent display, the light sensitive elements are often rotated so they get less exposed and gets least damage. Each new artefact added brings more attraction and draws new visitors to see the exhibition. The lighting system needs to be flexible to cater the needs of change in exhibits.
The diffuse lighting takes little account of the positioning of exhibits as it lights spaces uniformly. So the flexibility has to be provided in the directional lighting. So, this is achieved by using power track systems. In this system spotlights are rotable and can be moved and added at any point.
Lighting Parameters, systems and elements
The public museums which were built in first half of the 19th century were completely relied on the daylight. Many museums incorporated daylight, despite the availability of artificial lighting. But in the 1950s and 60s was realized how much damage the daylight causes to the organic historic materials. Daylight adds overall ambiance of the space, this light can have a negative impact on the artefacts. For some years, the museum was made with rooms with no windows. But now because of the many advancement in the modern technologies the daylight Can be precisely detected and measured. So once again the daylight plays a very important role in museum construction and design.
Natural light is almost valued in museum and gallery design. It is really a big architectural challenge to light an interior with the help of natural light. Conditions for harnessing natural light can rarely be created later and system modification is difficult. Concepts of public museums were started in middle of 19th century. Skylights were also introduced in earlier museums. Light has substantial impact on perception of space and upon emotional response of visitors. Lighting is one of the major planning factors guiding the space quality in a museum. It is also a basic element for the expression of a space.
Museum lighting is highly theoretical, the quality of light is vital. The needs of gallery lighting vary with the function of the space, type and size of the works and layouts. The type of lighting used for two dimensional and three dimensional objects are different. Proper lighting system is used depending upon the sensitivity of the material. Also, the gallery lighting has both the physiological and psychological needs to be fulfilled so it is best to blend both the sources to get desirable and useful light.
“The primary goal of lighting design and installation is to create optimum condition for viewing objects” as stated by Kevan Shaw (The Manual of Museum Exhibitions). The basic requirement of any lighting design is first to illuminate the object. It is important to understand the general concept behind the exhibition before designing the lighting scheme for museum.
Dramatic effects can be created by the use of varying levels of light, which can overcome the dull and monotonous museum environments. The amount of light and its quality in a gallery should be in relation to the contrast, glare, color effects, color of light and brightness of room.
Daylight plays a key role in achieving the energy efficient design. Daylight can be easily incorporated into building designs however museum design provides a special challenge as it can lead to light damage effects on artifacts.
The effectiveness of natural light as a light source is measured as the “Daylight Factor”. This is the average illuminance (lux) inside a room at a standard height above floor level compared to the illuminance outdoors on an overcast day. It is usually stated as a percentage. Typically, the daylight factor should be between 2 5%. Less than 2% is experienced as a dim space, whereas over 5% results in unnecessary heat gain.
The quality of light in museum has a strong impact on the visitor's perception and experience of the artifacts exhibited, as it influences how their visible attributes are revealed. The ever changing nature of daylight, the visitor's experience will be unique every time. The correct use of natural light in museums is an important factor in terms of shaping the architectural space and visually enriching the displays, contributing to the interpretation of collections
Daylight has high color rendering index and it cannot be replaced by artificial means. The clarity of objects and accuracy of object color is best shown using daylight.
Daylight has a greater probability of maximizing visual performance than most forms of electric lighting as it has excellent color rendering index. The artificial lighting is monotonous, it can lead to decrease in visitor's interest towards exhibits.
Natural light is the primary source of renewable energy. It plays a critical role in Sustainability of built environment. The use of daylight in combination with artificial light and lighting control systems can drastically improve the energy efficiency of museums.
The top lighting openings distribute light across large areas, whereas side lighting the illuminance levels gradually reduce in distance of the openings.
Fig 3.1.
Like most building types, the development of architectural form for museums and art galleries was influenced by specific illumination criteria. The initial criteria of these spaces were based on maximizing the collection of available daylight while minimizing the need for windows which reduced valuable display space and produced reflected glare. The resulting daylight delivery systems that were adopted to respond to these needs can be characterized by three solutions: clerestory windows, light wells and skylights. Though every building and site location is different, the impact of these building forms on illuminance distributions, luminance ratio and brightness ratio are different.
The basic strategies of natural lighting can be broadly classified into two categories: 1. Side lighting
2. Top lighting
There are two basic daylight openings typologies: side lighting and top lighting. Their architectural geometry, orientation, placement and quantity is critical for the illuminance distribution inside the rooms. The selection of the typology must ensure both optimum display conditions and secure preservation aspects for each exhibit.
Fig 3.2 Side light opening
Fig. 3.3 Top light opening
Side-lighting There are two main types of side lighting openings: windows and clerestories.
This typology is perhaps the most challenging to use in museum galleries, because it may allow direct sunlight through the space or create high contrast areas. The placement of the exhibits is also critical to achieve visual comfort for the viewers. The intensity of light through windows might highlight some artefacts, but sensitive pieces should be places in distance to the openings. Sculptures can be placed close and facing the openings, as the shading patterns will make them appear more dynamic. For paintings/pictures, on the other hand, the position facing the openings can experience reflection problems and the placement in right angles to the windows and hanging with tilt should be preferred
Window apertures allow natural light to the interior of a space, but can also provide a view of the exterior environment. Windows are the most problematic daylight introducing building form. Even if illuminance is controlled, the outside view will force the eye to adapt to luminance much higher than the displayed material. Finally, the reflections of the windows in display cases, works under glass, glazed objects, and paintings with varnish, can greatly reduce object perception and understanding.
Clerestories are side openings placed higher in the wall. They allow deeper penetration of light and minimize glare probability, as they are positioned higher than eye level. By a combination of clerestories in opposite directions, light distribution can become uniform inside the space. However, because they are higher than the level of the eye, the view is restricted to the sky or higher surroundings but can also be absence. Therefore, the sense of openness they provide is lower than of windows.
Top lighting is indicated to achieve ambient and uniform lighting and reduce the probability of glare. Ceiling apertures offer the flexibility to have openings, without interfering with the organizational plan of the space and leave the total wall surface available for display. There are many different types of top lighting openings, such as skylights, overall daylight roofs, atriums and lightwells.
Fig 3.6. Light from above, more light falls on Fig 3.7. Light from the side, it has to travel more Horizontal Space near middle as compared to and thus results in lower illuminance on both Edges horizontal spaces
Fig 3.8. Light Shelf
Fig 3.9. Light Well Fig 3.10. Roof Monitors
Fig 3.11. External Reflectors
Fig 3.12. Light Duct
Fig 3.13. Reflective Blinds
Skylight: The skylights provide uniform, diffuse lighting. The shadows produced are soft as the light spreads over a large surface area. The light rays coming from the skylight reaches every part of the room, including the free structure cabinets, sculptures and partitions. As no windows are present, more of the wall space is used for painting. The shape, orientation and angle affect how much daylight it can provide in different parts of the day. Light from this technique can reach nearly every part of the room including free standing displays, cabinets, sculptures and partitions. For the display of sensitive artifacts, natural lighting is not suitable. Hence, also for the highly sensitive material artificial lighting is important. It is also useful for attaining different light levels throughout the museum as per the requirement. However, artificial light if used alone can be fatiguing to eyes.
Identical skylight at flat roof.
Fig 3.19.Top Lighting in Louvre Museum
Fig 3.20 Skylight placement
Fig 3.21 Clearstory placement
1.Skylight: In order to minimize heat loss, skylight consists of clear thermopane assembly with low E coating and width is limited to six feet
2. Motorized Roller Blinds
Fabric roller blinds mounted on the inside of each skylight above the galleries are controlled automatically by a photosensor located in the skylight in order to maintain desired light levels
3.Reflective Light Shaft Six foot wide mirror lined shafts extend 25’ from the upper floor to the lower to propagate light to lower level rooms
Prismatic acrylic lens at ceiling level helps to diffuse daylight across the lower gallery
In side galleries, daylight is brought in through a vertical clerestory with automated blinds mounted on the interior of the clerestory
Wide aluminum louvers, installed at a fixed pitch to prevent direct sunlight penetration, are mounted inside the clerestory of the side galleries
7. Electric Lights Most of the electric lights in the galleries are spotlights so, curators can decide when to turn the lights on or off, based on scheduling, season, time of day, and curatorial specifications
Light is based on a single color Continuous spectral curve Intermittent spectral curve Lively natural environment Can be manipulated as per need U V radiation corrodes sensitive objects displayed It is non corrosive
Superior color rendition
It is a planning constraint Freedom in planning
Nonetheless, it is a fact that daylight is more difficult to control than artificial light, and it also carries a level of UV radiation that is difficult to eliminate. Moreover, the love for sunlight is also more evident in countries where it is scarce. In countries with a great presence of natural light, its absence can sometimes be considered relaxing. Therefore, we must consider the need to apply adequate day lighting systems to the place where the museum is located, in geographic and cultural terms, in order to achieve maximum comfort for the visitor.
Incandescent light Fluorescent light Halogen LED
Bring out the warm colors like red, brown, orange and yellow tones But is bad with cooler colors such as violet, blue and green These lights are better than fluorescent light.
Not a common practice as they give off a high amount of UV rays which are harmful
Do not emit light across the entire spectrum of colors and that is problematic.
Comparison of various sources of artifical lighting
Strong white light
Good CRI value emits a lot of heat
Strong white light good CRI value
Emits a lot of heat Energy efficient Reduced heat emissions
Don’t create UV or IR light.
Color rendering doesn’t change on making the lights dimed.
3.5.1. Artificial Lighting Design in Museums 3.5.1.1. Lighting for Erbach’s German Ivory Museum
Introduction and types of Exhibits: Germany Ivory Museum exhibit space in Erbach, Germany houses a small but exquisite collection of ivory objects. It creates a memorable contrast between exhibits and their surroundings, without distracting from the form of each piece on display.
Concept: “To create an exhibition where the exhibits appear to be floating in mid space,” and “visually disappear above a certain height.”
Showcase Design:
Each display showcase is a luminous cube; the partially frosted glazing and inauspicious accentuating illumination make the figurines magically emerge from a sort of fog. Avoidance of any reflections in the glass, whether from sources inside or outside of the case.
Fig
Cabinet structure and lighting: The cabinets consist of fully glazed hoods without any corner profiles. A small profile tracing in the interior upper cabinet corner to accommodate all lighting elements, concealing cables and splices behind a blind cover.
In tune with the red hue of the exhibition design, the light color of the display lighting is 3000K. The only deviance is at the base of the cases the lower third of the glass panes is frosted and fitted with edge light integrated in the base. The diffusion transitions smoothly into clear glass. The LED ribbon is concealed in the display’s base and uses 5000K light, cooler than the object and walkway lighting. This supports the design concept, creating the impression of an icy haze from which the figurines miraculously emerge.
Fig
Fig
Pier Lighting:
The walking surface transforms into a seemingly suspended path in an intangible, almost imperceptible spatial envelope, by virtue of concealed LED light ribbons in its balustrade.
Introduction and types of Exhibits: The Yves Saint Laurent Museum in Marrakesh presents itself as a veritable jewel of contemporary museum architecture. The interior of the monolithic brickwork construction surprises with its dramatic exhibition concept referencing the theatre and stage. LED lighting technology installed in a walk in black box enables the tones and textures of the iconic haute couture models of Saint Laurent blossom.
Concept: An exhibition space completely in black a black box that accommodates the key works of the creative genius Saint Laurent and a scenographic concept that celebrates the diversity of the haute couture designs of the fashion designer.
Exhibit and Exhibition space Lighting:
At first glance visitors experience complete darkness. "This contrast between bright and dark, and between exterior and interior, was an essential factor in designing this space". "Detached from daylight and their surroundings, visitors find themselves here in a completely different universe in the world of Yves Saint Laurent
Journey from outside to inside (Variation in light intensities)
Visitors enter the museum from the road, through a slender corridor between brickwork walls, and the entrance courtyard flooded with sunlight and embellished with a six foot YSL logo (after twilight, the logo is effectively displayed by two beamer projectors) that guides visitors towards the main exhibition space.
Logo is effectively showcased by two beamer projectors each equipped with 12W LED modules. Two Lightscan projectors installed at eaves height, one with neutral white light (4000K) and the other with warm white (3000K), create a soft moonlight effect on the museum's circular outside wall.
Due to conservation reasons, different haute couture models from the Foundation Pierre Bergé collection of over 3,000 pieces are displayed at regular intervals. In this way the filigree beauties are not unnecessarily burdened in their exposure to the visitors and public at large. In terms of lighting and also due to conservational considerations, the decision was taken for LED technology.
The iconic museum is built around an old dry dock. Leaving the 60 year old dock walls untouched, the exhibitions are placed below ground and arranged in a continuous loop around the dry dock and making the dock the centerpiece of the exhibition an open, outdoor area where visitors experience the scale of ship building.
The exterior electric lighting scheme calls out the architectural elements, by using white LEDs to signify land and blue LEDs to signify water. At night, white LEDs line the pedestrian bridges to the museum and serve as a visual indication of the castle beyond. Blue LEDs mark the dry dock’s once exiting waterline, and floodlights fill the ship shaped cavity with cool tones of blue and white.
dock
The exhibit lighting uses 55W LED fixtures. Projected images animate blank walls, and a buoy with internal sources casts coordinates on the floor. From exterior to interior, visitors and displays alike are washed in a cool glow.
Fig 3.34 In the first gallery, lighting is projected from a buoy and casts navigational coordinates on the floor, setting the stage for the visitors’ “maritime” journey
Fig 3.35 The exhibits are designed to
visitors with dynamic displays of images and objects
Fig 3.36.
The “Türckische Cammer” is one of the largest and most impressive art exhibitions featuring Ottoman treasures in Germany. It houses magnificent exhibits, which include coats of mail, helmets, riding gear and banners as well as intricately worked harnesses, oriental weapons, garments and many other precious textile objects which have been reunited in one place as a permanent exhibition.
Concept:
All the various areas of the “Türckische Cammer” have a midnight blue colour scheme; ambient lighting immerses them in a light which creates a nocturnal moonlight scene. This scene is created by using LED spotlights set to a light colour of around 6,000 K and dimmed to produce illuminance of approximately 25 lux. This reduced brightness ensures there is sufficient brightness for visitors to find their way around but is still gentle on delicate textiles. All the precious objects in the display cabinets and the interior lighting in the magnificent Ottoman tents are set centre stage with delicateness and discrimination using the fibre optic system.
Linear illumination is used for colorfully adorned spears, ornately crafted arrows, fearsome guns and elaborately decorated swords. Clean accent lighting emphasizes details particularly clearly, and exhibits become palpably more three dimensional. Individual free standing exhibits in the room and pictures on walls located in the“night time” peripheral area of the exhibition are selectively highlighted by spotlights.
Silver, for instance, looks best in a cool white light color, warm white light colors are ideal for gold and bronze hues. Non scatter spot and flood distribution characteristics ensure that the details of the very interesting scientific instruments are highlighted in a striking, precise manner.
Fig 3.39. Delicate objects are protected by Fig 3.40. Large exhibits are presented free standing showcases. Non Reflective glass cases to avoid glare
3.6. Case Study for Natural Lighting Design in Museums
Introduction and types of Exhibits: It is Designed by Mecanoo Architecten, one can almost feel the weather because of the transparency of the building. The glass facade in front of the wooden boards affords an inviting view of the famous North Holland skies. The museum displays the remains of ships that were washed up on the shores, they tell the tale of the island’s maritime history.
Fig 3.41. Interior of Kaap slik maritime museum
Fig 3.4. Analytical Exploded Axo
Orientation: The building is oriented in North south direction with solid walls on east and west and two glass walls on the North and South.
Fig 3.43. Site plan of Kaap slik Maritime Museum
On the second floor the sky floods the objects on display with light. The beams which pierce the skylights of the high gabled roofs give visitors the feel of being under water. It houses the underwater archaeology exhibits and beachcomber collection with artefacts displayed in mobile vitrines made from sturdy steel frames and glass.
Probably the second most notable feature is the museum's four gabled roof, intended to resemble the waves of the sea. But the interior betrays a more practical purpose to the roof. Letting light in from above brings daylight much further into the interior, and can dramatically reduce the need for artificial lighting much more than windows (or even fully glazed walls) can alone.
Fig 3.45. Derivation of form
Daylight optimization is a considerable challenge to building designers, looking to get as much light into the space as possible, but without sacrificing the quality of the visual environment or causing a greenhouse effect that would necessitate energy expensive air conditioning. The wooden slats employed here are effectively exterior solar shades disguised as building decoration but the results are unarguably effective.
Fig 3.46. Visitors feel an expansion of space due to brightly lit second floor
Fig 3.47. Lighting analysis
Artificial Lighting in Basement
Fig 3.48. In the basement visitors are drawn around the exhibition
Fig 3.49. Artificial light in the basement by projections and animations, creating an intimate space that basement creates a contrast to the harbours a sense of mystery day lit upper floors
Introduction and types of Exhibits:
Osaka is home to the Osaka Maritime Museum , built on the Bay of Osaka, Japan. Engineering design was done by Arup and Tohata and the architect was Paul Andreu. Its climate is warm and temperate.
Aim and types of exhibits:
The aim of the museum was to highlight the role of Osaka in the development of the maritime industry and its overall contributions to the world. Osaka was a pioneer in the maritime transportation industry of Japan during the Edo period.
Daylighting in museum through Glass Dome:
The surface of the dome was analysed in relation to the sun path throughout the year. When solar energy is at a maximum, the lamimetal is almost opaque. When solar energy is reduced, the glass becomes clear and where solar gains are at a maximum, the Lamimetal is almost opaque. The overall density of the lamimetal was chosen to give the best balance between visibility and comfort.
Sensitive exhibits require temperature and humidity to be finely controlled. As it would be inefficient to provide such conditions everywhere within the dome, controlled environments are provided in special zones within the core of the internal building.
Fig 3.52. The bridge leading to core areas giving an image of sea
Fig 3.53. 73m diameter glass dome IN Osaka bay, designed to protect a full scale replica Japanese ship Solar Radiation Controlling Techniques:
The mean solar radiation was projected onto the hemispherical surface and represented as a series of contours of variable porosity, i.e. 90% solid at the pole, through 80%, 60% and 40%, finishing up with with clear glass on the equator, in the north and south. The variable porosity confers on the dome a didactic expression of incident solar energy, whilst maintaining maximal transparency towards Osaka harbor, for viewers within the dome.
Introduction and types of Exhibits: NZL32 is suspended within the existing buildings, and takes its place within an exhibition entitled ‘Blue Water Black Magic’, a tribute to the life of Sir Peter Blake, the round the world yachting legend who managed the Cup campaign.
The Danpalon panels have a reflective quality, which means the facade is constantly changing according to the light and sea conditions. At the same time, the panels bring natural light into the interior.
Despite achieving the low light levels required for artefact protection, the Spaces glow with the softly transmitted light passing thought the double skin multi cellular polycarbonate, which has good UV and thermal protection properties.
Introduction and types of Exhibits:
The national collection of objects representing the traditional way of life in Ireland like handcrafted harvest knots, wickerwork, spinning wheels and boats, clothing and artefacts.
Placement of Windows:
The building has large windows to the south east and west, allowing both high levels of daylight, and direct sun penetration.
Challenge:
The problem presented to the lighting designer was therefore to provide an impression of natural light throughout the circulation areas of the building, whilst controlling the levels of light within the displays.
Solution (Daylighting through Windows):
To solve the problem of sun penetration on the south and east elevations two metre high screens parallel to the windows were placed in front of the display areas, giving the opportunity to the exhibition designer to create a low light level exhibition area within the limitation of 50 lux. Section illustrates the the differentiation between the area lit by the windows for circulation, and the display area beyond with its low light level to ensure the conservation of the artefacts.
Fig 3.60 Plan of screening
Fig 3.61 Section of screening
(1). Parameters:
(1.1). Artificial Lighting in museums
Types of Exhibits
Nature of Exhibits
Concept
Placement of Exhibits
Placement of Light Type of light
Color Temperature and lighting methods
Design of Cabinets
Projection on walls (story telling)
Lighting of circulation path connecting Exhibits
Nature of Exhibition
Conservation Reasons
External Lighting
(1.2). Natural Lighting in museums
Types of Exhibits
Nature of Exhibits
Medium through which Natural Lighting done in museum
Placement of Exhibits and lighting techniques
Orientation
Solar Radiation controlling technique and measures
(2). Comparative Study of the cases
(3). SWOT Analysis
4.1.1. Types of exhibit, nature and its placement Case Types of exhibit, nature and its placement
Erbach’s ivory museum
Exhibits Ivory sculptures
Nature Light sensitive(50lux)
Placement Inside the cabinets
Maritime Museum of Denmark Exhibits Ship replica, shipwrecks
Nature Light sensitive(50lux)
Placement Inside the cabinets
Exhibition
The Yves Saint Laurent Museum
Exhibits Helmets, weapons, gold and silver
Nature Light sensitive(50lux) (Helmets, weapons)
Nature Light insensitive (gold, silver)
Placement Inside the cabinets
Exhibits Designer dresses (textile)
Nature Light sensitive(50lux)
Placement Designer dress clothed on mannequins along with jewellery and accessories
Inference-
The light sensitivity of artefacts determines its placement as well as its size. The small and delicate objects like ivory, gold are placed inside the showcases whereas the large exhibits like telescope, sculptures are kept free standing.
Erbach’s ivory museum
Luminaire Inside the showcase and concealed LED light ribbons in balustrade for the circulation path (Directional light)
Exhibition Type Permanent
Maritime Museum of Denmark
Luminaire Inside the showcase. Diffused light used to light the circulation path which is placed on ceiling path (Directional light)
Exhibition Type Permanent
Exhibition
Yves
Luminaire For light sensitive artefacts the light is placed inside the showcases(Directional light)
Exhibition Type Permanent
For light insensitive and large artefacts, the light is placed on ceiling (Power grid flexible lighting) (Directional and diffused light)
Exhibition Type Temorary
Luminaire On the ceiling, basically track lights to show the fexibility and versatility of exhibition space
Exhibition Type Temporary
Inference-The placement of light depends on the artefacts placement. Usually the luminaire is placed inside the showcase and it is a permanent exhibition. If exhibit is large, luminaire is placed on ceiling. Usually they are temporary exhibition space
Erbach’s ivory museum
Spotlights of 3000K to provide warm light and accent lighting at bottom of 5000K to give a look of exhibits emerging from icy haze.
Maritime Museum of Denmark White LEDs to signify land and blue LEDs to signify water. The exhibit lighting uses 55W LED fixtures. From exterior to interior, visitors and displays alike are washed in a cool glow.
Exhibition
Yves
Midnight blue colour scheme is created by using spotlights of 6000K and dimmed to produce illuminance of approximately 25 lux.
Optec contour spotlights (LED)to highlight the colors and textures. Spotlights of 5000K to produce a cool white light.
The colour temperature of the lighting depends on the concept. Light is a story telling element and the colour temperature creates that type of environment
Erbach’s ivory museum No projections. -
Maritime Museum of Denmark Projected seascape images on the gallery walls add a dynamic lighting element while giving visitors the feeling that they are at sea.
Exhibition
No projections.
Yves Saint Laurent Museum Catwalk film and imagery, which are projected on to the walls
Inference-
The projections on the wall are related to the period that the artefacts represent. They create a sense of involvement for the visitors.
Kaap
Exhibits Remains of ships washed on shores
Nature Medium Light sensitive(150lux)
Placement Inside the cabinets. Top floor illuminated by natural light.
Osaka Bay
Museum Exhibits Full scale replica Japanese ship
Nature Medium Light sensitive(150lux)
Placement Placed at Atrium.
Exhibits Spinning wheels and boats
Nature Light sensitive(50lux)
Placement Exhibits are placed behind the screening wall
Voyager
Boats
Nature Medium Light sensitive(150lux)
Placement Placed at Atrium.
Inference The light sensitivity of artefacts determines its placement as well as its size. The light sensitive artefacts should be placed in the core areas so they doesn’t get expose to natural light.
Kaap Slik and Beachcomers Museum
The wooden slats employed here are effectively exterior solar shades disguised as building decoration.
Osaka
When solar energy is reduced, the glass becomes clear and where solar gains are at a maximum, the Lamimetal is almost opaque.
Museum of Country Life, Ireland The sun penetration is blocked by two metre high screens parallel to the windows were placed in front of the display areas, to create a low light level exhibition area within the limitation of 50 lux.
Voyager
Despite achieving the low light levels required for artefact protection, the Spaces glow with the softly transmitted light passing thought the double skin multi cellular polycarbonate, which has good UV and thermal protection properties.
The solar radiation has to be controlled to protect the exhibits from UV and IR rays. The UV filters and transluscent UV panels help to block UV and IR rays.
Kaap Slik and Beachcomers Museum
Some of the roof peaks play host to clerestory windows, letting light through one incline, and reflecting it off the opposite face
Magnificent glass dome structure that houses a vast collection of exhibits embodying the history and culture of Osaka.
Museum of Country Life, Ireland Sun penetration on the south and east elevations, windows were placed in front of the display areas.
Voyager Maritime Museum
Polycarbonate architectural glazing system, which allows natural daylight into the interior.
Inference-The natural lighting in museum is more difficult to control for windows but using UV filters can block the UV and IR rays. The natural lighting reduces the depndence of artificial lighting and creates a positive environment.
Kaap Slik and Beachcomers Museum
The movable showcases of robust steel frames and glass create a transparent effect so that the objects in the collection seem to float within the space
Osaka Bay Maritime Museum
73m diameter glass dome in Osaka bay, designed to protect a full scale replica Japanese ship.
Museum of Country Life, Ireland Daylight in to the building consistent with the needs of conservation, so that the natural variation of daylight could be enjoyed, as it changes throughout the day and the seasons.
Voyager
The Danpalon panels have a reflective quality, which means the facade is constantly changing according to the light and sea conditions. At the same time, the panels bring natural light into the interior.
Inference-The exhibits are usually placed at core areas where a soft light of diffused sunlight can penetrate so they maintain the lux required for a particular exhibit. Direct sunlight is always avoided.
Museums can minimize light damage by minimizing the energy absorbed by artifacts. Eliminating shadows, glare and reflections, lighting artifacts and not areas, and keeping backgrounds subdued also increase visibility while letting us lower overall light intensity.
Lighting parameters (illuminance and luminance values) and lighting sources choice should be carefully designed and strictly controlled while in use to protect sensitive exhibits and to provide comfortable exhibition conditions for visitors. LED technology seems to accomplish most of the requirements for this task. A reasonable balance between appropriate environmental conditions and exhibition times may lead to a better preservation and quality of the visual environment.
Daylighting in museums by the use of domes, clerestory windows, facades of translucent panels, anti solar glass/windows were considered to be most adequate daylighting features sufficient for daylighting designs and energy efficiency optimization lessening the use of artificial lighting in museums. This research was concentrated of different techniques of 'lighting design in museums '. The research also engaged in finding ways of achieving the lighting condition favorable for different nature of exhibits, display of exhibits, color temperature, flexibility of lighting design in exhibition spaces, UV rays controlling technique, orientation of building. With the study taking two types of lighting designs in museums (artificial and natural, intensity, color temperature and daylighting control strategies , we are able to conclude that “Appropriate lighting design in museums will result in preserving as well as enhancing the beauty of artifacts. “
The research studies various types of lighting designs in exhibition spaces and how they play an important role in preserving and showcasing them. The research has found all the techniques of artificial and natural lighting in museums and the factors to be considered for that i.e.; prevention of light damage to exhibits, visual adaptation, calculations for placing of spotlights for 2D and 3D exhibits.
The fiber optic lighting in museum should be preferred more than LED in exhibition spaces in museum. It has many benefits like:
Heat Free Lighting: The fiber transmits the light but isolates the heat from the light source from the illumination point, an important consideration for lighting delicate objects, such as in museum displays, that could be damaged by heat or intense light.
Precise Spotlighting: Optical fiber can be combined with lenses to provide carefully focused light on extremely small spots, popular for museum exhibits and jewelry displays, or simply light a specified area precisely.
Museum lighting systems have a range of features that include, but are not limited to, helping to guide the museum visitor through a space, setting a mood for an exhibit, focusing on particular artifacts, such as photos or sculptures, and ensuring the conservation of any items being displayed by protecting them from ultra violet (UV) light damage.
The luminaire should be placed inside the showcase so that glare can be avoided on glass showcase and the contrast ratio can be achieved by highlighting the exhibit.
Proper angle and distance from the wall should be calculated so that the shadow of the onlooker is not casted on the artefact.
Fig 5.3. Calculation for placement of spotlight and wallwashers
Fig 5.4. Lighting typologies for free standing exhibits
5.2.2. General Lighting and Accent Lighting Tips:
Another museum lighting technique to provide both overall general illumination as well as important accent lighting is museum track lighting. Simply put, track fixtures are quite versatile.
Fig 5.5. Flexible (temporary) Exhibition spaces by the use of track lights
Daylight, or natural sunlight(without filtered), as well as fluorescent lighting can damage works of art because both of these light sources emit UV rays. They can especially damage items that are made of organic material.
Fig 5.8. Different sources of artificial lighting
LED and fiber optic light emit less IR and UV rays, and are also energy efficient. They are therefore the main source of lighting the museum and museum exhibits.
Daylight provides better color rendering than electric lights, Daylighting additionally provides energy savings for the museum by minimizing the amount of electric lighting required during the day to illuminate the museum.
Direct sunlight should be avoided in display areas. Window walls should face North in the nothern Hemisphere. The glazing should have UV filters and filter all wavelenghts below 400mm.
Fig 5.9. Direct sunlight should be avoided as it has UV and IR rays
Fig 5.10. The window placed behind the exhibit reduces visibility and produces glare
Fig 5.11. Screening wall at the front of windows leads to lower lux level inside giving a seeprate scope of view to the outer world.
Fig 5.12. Comparison of various daylighting strategies
5.2.5.
IESNA also suggests another criterion of observation that says the "display of the objects should be the brightest elements in view". The smaller or more detailed an object is, the more light is required. Therefore, the human eye has the ability to be very receptive to light, but the amount of luminance and difference from one level to another is a significant factor in lighting of a museum.
The professional lighting of artwork is, without a doubt, one of the central challenges of museum lighting. The light for exhibition rooms, however, is only one aspect of its function in the museum.
Fig 5.13. Display of objects should be brightest in the view
Artificial Lighting Analysis
Formula:
RI=Ratio of the room plan area to half wall area between the working and luminaire planes.
RI=L*W/ (L+W)(Hm)
L= Length of space (m)
W= Width of space
Hm= Mounted height of the fitting above the working plane Lumen Method, N= No of lights required
E: Required Lux for specific spaces
A: Area at working plane height (m2)
F: Initial Luminous Flux from each lamp (lm)
UF: Utilization factor, MF= Maintenance Factor
Lighting Fixture Details
Type of lighting Fixture
LED Track Light
Size 12cm
Type of Luminous Warm White
Luminous Flux (lm) 3000 Power (W) 10W Color Temperature (K) 4000 Color Rendering Index 80 Room Index Calculation
Dimension of space (m) L=13, W=6.9m
Total Floor area (m2) 72.68 m2
Height of ceiling (m) 4
Luminous Flux of Lighting (F/m) 3000
Height of Luminaires (m) 3.5
Height of working plane 0.75m for exhibition table height
Mounting Height (H/Hm) 4m 0.75m 0.5m=2.75m
IES standard illumination of space (E) 300 (For exhibit insensitive to light)
Room Index (RI) (13*6.9)/((13+6.9)(2.75))= 1.64
Lumen Method Calculation
Reflactance Factor
Ceiling: White Plastered ceiling=0.7
Wall: Precast concrete wall (white painted)=0.5
Floor: Oak wood flooring=0.15
Utilization Factor (UF) 0.57 (Based on UF table)
Maintenance Factor(MF)
No of fittings required (N)
Fitting Layout
Smax: Maximum spacing between lighting and fixtures
0.8 (Standard)
N=(300*72.68)/(3000*0.8*0.57)= 15.93 =16 lamps needed in this space
Smax = 1.5*Hm = 1.5*3.25m = 4.875m
Space between light fiting not greater than 4.875m
Fig 5.14. Plan of placement of Luminaires
Fig 5.15. View from A
Fig 5.16. Report of study of daylight factor in exhibition space Calculation for artificial lighting in Museum Spaces
Fig 5.15. Plan Fig 5.16. 3 DView
5.17. Lighting directions defined
Fig 5.18.Color Scale Fig 5.19. 20W Halogen Lamps Fig 5.20. 6W LED Lamps False colour representation of the LED and Halogen Lamps with dialux
Luminance: Light emitted or reflected from a surface in a particular direction; the result of the illumination level and the reflectance. Lux The measure of ‘illumination level’ (illuminance) in lumen/sq.m. The Foot Candle is used in the USA, meaning 1 lumen per square foot or 10.76 Lux.
Reflectance: The ratio of light reflected from a surface to the light falling upon it; as affected by the lightness or darkness of the surface.
Colour renderng: A comparison between the colour appearance of a surface under natural light and that from an artificial source.
Light pipes: A form of rooflight associates with mirror finished ducts which direct natural light and sometimes ventilation into lower floors of the building.
Light shelves: A horizontal construction at the window designed to reflect light to the ceiling, to assist in increasing the daylight penetration into the room
Contrast: The visual difference between the colour or brightness of two surfaces when seen together. Too high a contrast can be the cause of glare.
Glare harsh, uncomfortably bright light source or reflection that interferes with visual perception. Light from the wrong place
Lux metric unit of quantity of light on 1 m squared of surface area 1 m away from light source of 1 cd( 1lx equal to 0.009fc). (Egan, 394, 2002).
Foot Candle (fc) quantity of light on 1 foot squared of surface area 1 foot away from light source of 1 cd (Egan,390, 2002). Candelas (cd) unit of luminous intensity equal to 1 candlepower.
LED Light Emitting Diodes low power, small point sources. Typically amber, orange , or red, they are used in traffic signals, commercial advertising signage and exit signs
Daylight: The light received from the sun and the sky, which varies throughout the day, as modified by the seasons and the weather.
Daylight factor (DF): The ratio of the light received at a point within a building, expressed as a percentage of that available externally. Since daylight varies continually the amount of light from a given DF is not a finite figure, but gives a good indication of the level of daylight available.
Conservation: The protection of works of art against the deleterous effects of the environment. The control of light levels (particularly ultra violet) is a major component of conservation.
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