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ARTIFICIAL LIGHTING for ART
GALLERY




                     ANTONY KUMAR
                             BOITY
                          ROLL NO – 01,
•O U R L I V E S A R E E N R I C H E D B Y
ART             THROUGH        ART     WE
E X PAN D O U R H O R I Z O N S AN D
ENTER NEW WORLDS.
•I N A N A R T G A L L E R Y S P A C E ,
D AY L I G H T       AND   ARTIFICI AL
L I G H T AR E O F F U N D AM E N TAL
I M P O R TA N C E .

•T H E A R C H I T E C T U R E A N D T Y P E
OF LIGHTING USED IN THESE
S PA C E S H AV E A F A R - R E A C H I N G
I N F L U E N C E O N T H E I R I D E N T I T Y.
•T H E      LIGHTING          M AKES          IT
P O S S I B L E T O I L L U M I N AT E A L L
TH E FAC E TS O F TH E AR TW O R K .

•L I G H T              F U N D A M E N TA L LY
A F F E C T S M AT E R I A L S T H R O U G H
PHOTO-CHEMIC AL ACTION AND
RADI ANT           H E AT I N G     EFFECTS
F R O M U V & I R R AY S .
• PROLONGED               EXPOSURE          OF
SENSITIVE              M AT E R I A L S     TO
L I G H T, E S P E C I A L L Y D AY L I G H T,
IS       D E T R I M E N TA L      TO     THE
L O N G E V I T Y A N D P R E S E R V AT I O N
OF       THOSE          ARTWORKS            OR
AR T E FA C TS .
•THOUGH THE DAYLIGHT IS THE
MOST DESIREABLE SOURCE OF
LIGHT, DUE TO UNCONTROLABLE
NATURE AND HEATING EFFECT OF
IT THE ROLE OF ARTIFICIAL
LIGHTING BECOMES LARGER IN
ART GALLERIES.

•CONTROLLABLE QUALITIES OF
ARTIFICIAL LIGHTING ARE

1.AVAILABLILITY

2.ANGLE

3.INTENSITY

4.DISTRIBUTION

5.COLOR

6.MOVEMENT
THE ANNUAL LIGHT EXPOSURE IS THE CUMULATIVE AMOUNT OF VISIBLE LIGHT
INCIDENT AT A POINT, WITHIN THE BUILDING, OVER A 1-YEAR PERIOD (ANNUALLY).
IN AN ART GALLERY THE MAXIMUM ANNUAL LIGHT EXPOSURE FOR VERY LIGHT
SENSITIVE OBJECTS SUCH AS WATER COLOURS IS 150,000 LUX HOURS, WHEREAS
MORE LIGHT FAST PIGMENTS SUCH AS OIL HAVE A HIGHER VALUE OF 600,000 LUX
HOURS. INTELLIGENT LIGHTING SOLUTIONS STRIKE A PERFECT BALANCE BETWEEN
LIGHTING QUALITY AND ENERGY EFFICIENCY.




                                   MAXXI – NATIONAL MUSEUM OF XXI CENTURY
                                   ARTS, ROME, ARCHITECTURE: ZAHA HADID AND
                                   PATRIK SCHUMACHER, LONDON / GB
CITÉ DE L’ARCHITECTURE ET DU PATRIMOINE
(Paris)




USE OF DAYLIGHT FROM NORTH GIVES A
CONSTANT SOURCE OF LIGHT WHICH HAS BEST
CRI AND THE LIGHT LUX LEVEL REMAINS AFTER ITS COMPREHENSIVE        RENOVATION,
CONSTANT MOST OF THE DAYS.              THE    WILHELM    HACK    MUSEUM     IN
                                        LUDWIGSHAFEN HAS TURNED INTO A PARAGON
                                        OF ENERGY EFFICIENCY. THE MUSEUM’S
                                        ENERGY COSTS HAVE BEEN SLASHED BY AS
                                        MUCH AS 70 %. DEPENDING ON LIGHTING
                                        CONDITIONS   AND   REQUIREMENTS,   THE
                                        LIGHTING CAN NOW BE CONTROLLED USING
                                        SCENARIOS; EACH LUMINAIRE CAN ALSO BE
                                        DIMMED INDIVIDUALLY. THIS ENSURES
                                        OPTIMAL ILLUMINATION OF EXHIBITS AND
                                        ALSO ENSURES THAT EXTREMELY OLD,
THE IMPORTANT CHARACTERISTICS OF
                                                GOOD LIGHTINGS ARE:
                                             •COLOR RENDERING INDEX(CRI) OF
                                             LIGHTING FIXTURE.
                                             •LUX LEVEL REQUIRED.
                                             •DIMMING TO GREATLY EXTEND LAMP
                                             LIFE.
WEISHAUPT ART GALLERY BUILDING MARKED THE
SUCCESSFUL USE OF MIXTURE OF DAYLIGHT AND
ARTIFICIAL   LIGHTING.     DAYLIGHT     IS
PREDOMINANTLY SCREENED OUT SO THAT THE
AMOUNT OF INCIDENT NATURAL LIGHT CAN BE
CRI OF DIFFERENT TYPES OF LIGHTS
•INCANDESCENTS BRING OUT THE WARM COLORS
WITHIN THE COLOR SPECTRUM SUCH AS THE RED,
BROWN, ORANGE, AND YELLOW TONES.
•BUT ITS BAD THE COOLER COLORS SUCH AS
VIOLET, BLUE AND GREENS.
•THE BLUES, GREENS, AND VIOLETS WITHIN THE
ART WORKS OF ART WILL BE FLATTENED OUT BY      ROSE GALLERY AT THE SMITHSONIAN
INCANDESCENT LIGHTS.                           AMERICAN ART MUSEUM ILLUMINATED WITH
                                               INCANDESCENT FIXTURES.
•THESE LIGHTS ARE BETTER THAN FLUORESCENCE
BUT ARE NOT THE ENTIRE SOLUTION TO THE
LIGHTING PROBLEM.

•FLUORESCENT LIGHTS AREN'T USED AS A
COMMON PRACTICE BECAUSE THEY GIVE OFF A
HIGH AMOUNT OF UV RAYS WHICH ARE HARMFUL.
•IN ADDITION, FLUORESCENT LIGHTS DO NOT EMIT   COLOR TEMPERATURE      AT   3000K   &
LIGHT ACROSS THE ENTIRE SPECTRUM OF COLORS     2800K

AND THIS IS PROBLEMATIC.
•HALOGEN :
•A STRONG WHITE LIGHT.
•A VERY GOOD CRI VALUE.
•BUT EMITS A LOT OF HEAT.
•HENCE SOLUTION FOR THE HALOGEN MAY BE
•A FEW DATA REGARDING THE LUMENS OUTPUT FOR THE DIFFERENT
TYPES OF LIGHTS AND LIFE SPAN FOR THE SAME.
LUX LEVEL REQUIRED:




LIMITING ILLUMINANCES AND ANNUAL EXPOSURES FOR MATERIAL SENSITIVITY
CLASSIFICATIONS (CIE DIV. 3 TC3-22, MUSEUM LIGHTING AND PROTECTION AGAINST
RADIATION DAMAGE)
TYPES OF LIGHTING SYSTEMS :
THE MOST IMPORTANT         LIGHTING   SYSTEMS    USED   IN
EXHIBITION ROOMS ARE:

• LUMINOUS CEILINGS WITH OPAL         GLASS     ENCLOSURE
(DIFFUSE LIGHT)
 OR   SATINISED AND  TEXTURED          GLASS     (DIFFUSE/
DIRECTIONAL),

• INDIRECT LUMINAIRES (DIFFUSE),

• COVE LUMINAIRES (DIFFUSE),

• WALLWASHERS (DIRECTIONAL OR DIFFUSE/DIRECTIONAL),

• SPOT LAMPS.
LUMINOUS CEILINGS:
•THE IDEA IS TO EMULATE THE SKY FOR THIS KIND OF LIGHTING SYSTEM.
•LUMINOUS CEILINGS
DELIVER LIGHT WHICH IS
PARTICULARLY SUITABLE
FOR PAINTING GALLERIES
PREDOMINANTLY DIFFUSE
WITH AN OPAL
ENCLOSURE,
•THE LIGHT SOURCES OF
CHOICE ARE TUBULAR
FLUORESCENT LAMPS
ARRANGED ACCORDING TO
THE STRUCTURAL GRID OF
THE LUMINOUS CEILING.
•FOR GOOD UNIFORMITY
THEY
SHOULD BE SPACED NO
FURTHER APART THAN
THE DISTANCE TO THE
CEILING ENCLOSURE.
INDIRECT LIGHTING:
•INDIRECT LIGHTING ADDS BRIGHTNESS TO THE ARTS WITHOUT CREATING ANY
DIRECT OR INDIRECT GLARE.
•AN IMPACT SIMILAR TO THAT OF A
LUMINOUS CEILING IS ACHIEVED WITH
INDIRECT LIGHT BOUNCED OFF THE
CEILING AND UPPER WALL SURFACES
INTO THE ROOM.
•THIS DIFFUSE, UNIFORM LIGHT IS
PREDOMINANTLY USED IN ROOMS
WHERE NO DAYLIGHT ENTERS.
•IT IS PRODUCED BY SUSPENDED
LUMINAIRES RADIATING LIGHT
UPWARDS.
•IN EXHIBITION ROOMS, LUMINAIRES
FOR SUSPENDED POWER TRACK
SYSTEMS ARE AN OPTION: THEY ARE
INSERTED IN THE TRACK FROM ABOVE
WHILE SPOTS FOR DIRECTIONAL
LIGHTING ARE ACCOMMODATED IN THE
LOWER CHANNEL.
COVE LIGHTING:
THE DIFFUSE LIGHT OF LUMINARIES INSTALLED IN THE CURVING TRANSITION
BETWEEN WALL AND CEILING – THE COVE OR COVING – IS ANOTHER INDIRECT
LIGHTING SOLUTION.
•THE    DIFFUSE     LIGHT    OF
LUMINARIES INSTALLED IN THE
CURVING TRANSITION BETWEEN
WALL AND CEILING – THE COVE
OR COVING IS ANOTHER INDIRECT
LIGHTING SOLUTION.
•THE MAIN DIRECTION OF LIGHT
WITH COVE LIGHTING IS CLOSER
TO THE HORIZONTAL THAN WITH
A LUMINOUS CEILING.
•THE    LIGHT    IS    LARGELY
SHADOW-FREE.
•LINEAR LAMPS – GENERALLY
TUBULAR FLUORESCENT LAMPS
ARE THE MOST WIDELY USED
LIGHT SOURCE.
•EXCESSIVE LUMINANCE AT THE
CEILING AND ON THE UPPER PART
OF WALLS CAUSES GLARE AND
INTERFERES     WITH     SPATIAL
WALL WASHERS:
•WALL WASHERS BRING ATTENTION TO THE WALL THAT CONTAIN THE ARTS AND
ARTEFACT,
WHICH IS CALLED ACCENT LIGHTING. TEHY BRING DRAMA & FOCUS TO THE OBJECT.
•LED WALL WASHERS ARE DESIGNED FOR LARGER INDOOR/OUTDOOR ACCENT
LIGHTING APPLICATIONS.
•WITH A NUMBER OF COLOR, ANGLE AND CONTROL OPTIONS, THE LED WALL
WASHERS ALLOWS USERS TO INTERFACE THE APPROPRIATE COLOR, SCENE AND
INTENSITY SCHEMES NECESSARY TO COMPLETE LARGE INTERIOR LIGHTING TASK.
•WALL       WASHING
PROVIDES AN EVEN
SPREAD            OF
ILLUMINATION.
•FOR       VERTICAL
SURFACES SUCH AS
WALLS,        LARGE
PAINTINGS,     WALL
HANGINGS,
BOOKCASES       AND
SHELVING,    CABINET
FRONTS,           OR
STAIRWELLS.      THE
DIFFUSE NATURE OF
WALL-WASH
SPOT LIGHTS:
THE DIFFUSE LIGHT OF LUMINARIES INSTALLED IN THE CURVING TRANSITION
BETWEEN WALL AND CEILING – THE COVE OR COVING – IS ANOTHER INDIRECT
LIGHTING SOLUTION. AN EFFECTIVE TECHNIQUE FOR ACCENTUATING THE THREE-
•"KEY AND FILL" IS
DIMENSIONAL CHARACTER OF AN OBJECT.
•THIS TECHNIQUE ENTAILS THE USE OF KEY AND FILL LIGHTING FROM TWO SIDES
OF THE OBJECT.
• KEY LIGHTING IS A HARD-ACCENT LIGHT USED TO CREATE SHADOWS AND TO
HIGHLIGHT AN OBJECT'S FORM AND TEXTURE.
•FILL LIGHT IS A SOFTER LIGHT THROWN FROM THE OPPOSITE SIDE OF THE
•MAKING
OBJECT TOTHE OBJECT SHADOWS.
             SOFTEN THE APPEAR
MORE       NATURAL.      OTHER
TECHNIQUES     CAN   ALSO    BE
APPLIED        TO      FURTHER
ACCENTUATE       THE     UNIQUE
CHARACTER OF AN OBJECT, SUCH
AS SILHOUETTING.
SPOTLIGHT WITH A PROTECTIVE UV FILTER HAS
                                                   BEEN USED. THE SPOTLIGHTS CAN ALSO BE
                                                   DIMMED INDIVIDUALLY BECAUSE THE PAINTINGS
                                                   MUST NOT BE EXPOSED TO BRIGHTNESS IN
                                                   EXCESS OF 50 LUX. THE GLASS SLOPES AT JUST
                                                   THE RIGHT ANGLE TO PREVENT DISTRACTING
                                                   REFLECTIONS ON DISPLAY CABINETS; THIS
                                                   SLOPE ANGLE WAS DETERMINED ESPECIALLY
                                                   FOR THIS PARTICULAR EXHIBITION. MUSEUM
                                                   BOIJMANS VAN BEUNINGEN BOIJMANS VAN




AN ARTIFICIALLY RECLAIMED ISLAND SOME 60 M FROM THE
SEASIDE PROMENADE IN DOHA WITH A PALM-FRINGED
APPROACH ROAD EMPHASISES THE EXTRAORDINARY STATUS
OF THE UNIQUE DISPALY OF ISLAMIC ART. THE RATHER
RESERVED AND SELF-CONTAINED EXTERIOR SURPRISES THE
VISITOR WITH AN AMAZING OPENNESS INSIDE. PERFECT
ILLUMINATION OF THE TREASURES OF ISLAMIC ART IN THE
SPACIOUS HALLS AND GALLERIES IS ACHIEVED USING A
CUSTOMISED SOLUTION DEVELOPED BY THE LIGHTING
DESIGNERS IN CONJUNCTION WITH ZUMTOBEL. THE TALL,
SLENDER GLASS DISPLAY CABINETS AND THEIR PRECIOUS
EXHIBITS ARE PRECISELY ACCENT LIT BY OPTICAL FIBRES AND
SPECIAL LIGHT OUTLETS. UV-FREE LIGHT PROVIDED BY
FOR DELICATE EXHIBITS. THE SMALL SPOTLIGHTS WHICH
SUPPLEMENT THE DISPLAY CABINET LIGHTING AS REQUIRED
AND ALSO SHOW THE WAY AROUND ARE NOT TIED TO THE
DISPLAY CABINETS AND ARE THEREFORE AS FLEXIBLE AS
POSSIBLE. THE DECISION WAS MADE TO DISPENSE WITH
ADDITIONAL AMBIENT LIGHTING IN ORDER TO RETAIN AN
ATMOSPHERE WHICH IS AS EXCITING AS POSSIBLE. THE LOW-
VOLTAGE SPOTLIGHTS HERE ARE SPECIAL MOTORDRIVEN
VERSIONS, WHICH CAN BE ALIGNED VIA A TOUCH PANEL AND
DIMMED USING DMX CONTROL.




BELOW IS AN EXAMPLE OF EFFECTIVE GENTLE LIGHTING.
A        SOPHISTICATEDLY
DRAMATIC     CHIAROSCURO
CONCEPT WITH PRECISELY
SET CONTRASTS USING HIGH-
POWER             FRAMING
SPOTLIGHTS PRODUCES AN
EXTRAORDINARY EXHIBITION
EXPERIENCE. ROOMS WITH
ACCENT LIGHTING RANGING
FROM GREEN AND SLATE
BLUE TO RED – GLARE-FREE
AND SURROUNDED BY A
SUBTLE AURA – ALSO HELP
CONVEY A
SENSE OF SPACE PERFECTLY
AND LIT BY ARCOS FRAMING
SPOTLIGHTS TO MINIMISE
THE ILLUMINATED WALL
SURFACE AREA AND TURN
EACH INDIVIDUAL WORK OF
ART INTO A GLEAMING
ISLAND IN ITS OWN RIGHT.     SHARP OUTLINES – EVEN IN HIGH-CEILINGED
THE ACCENT SPOTLIGHTS        ROOMS
ARE DALI DIMMABLE; THIS      LANDESGALERIE AT THE UPPER AUSTRIAN
ALLOWS FAST SETTING OF       MUSEUM IN LINZ
AND STRICT COMPLIANCE
WITH             SPECIFIED
ILLUMINANCE LEVELS TO

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Artificial lighting

  • 1. ARTIFICIAL LIGHTING for ART GALLERY ANTONY KUMAR BOITY ROLL NO – 01,
  • 2. •O U R L I V E S A R E E N R I C H E D B Y ART THROUGH ART WE E X PAN D O U R H O R I Z O N S AN D ENTER NEW WORLDS. •I N A N A R T G A L L E R Y S P A C E , D AY L I G H T AND ARTIFICI AL L I G H T AR E O F F U N D AM E N TAL I M P O R TA N C E . •T H E A R C H I T E C T U R E A N D T Y P E OF LIGHTING USED IN THESE S PA C E S H AV E A F A R - R E A C H I N G I N F L U E N C E O N T H E I R I D E N T I T Y. •T H E LIGHTING M AKES IT P O S S I B L E T O I L L U M I N AT E A L L TH E FAC E TS O F TH E AR TW O R K . •L I G H T F U N D A M E N TA L LY A F F E C T S M AT E R I A L S T H R O U G H PHOTO-CHEMIC AL ACTION AND RADI ANT H E AT I N G EFFECTS F R O M U V & I R R AY S . • PROLONGED EXPOSURE OF SENSITIVE M AT E R I A L S TO L I G H T, E S P E C I A L L Y D AY L I G H T, IS D E T R I M E N TA L TO THE L O N G E V I T Y A N D P R E S E R V AT I O N OF THOSE ARTWORKS OR AR T E FA C TS .
  • 3. •THOUGH THE DAYLIGHT IS THE MOST DESIREABLE SOURCE OF LIGHT, DUE TO UNCONTROLABLE NATURE AND HEATING EFFECT OF IT THE ROLE OF ARTIFICIAL LIGHTING BECOMES LARGER IN ART GALLERIES. •CONTROLLABLE QUALITIES OF ARTIFICIAL LIGHTING ARE 1.AVAILABLILITY 2.ANGLE 3.INTENSITY 4.DISTRIBUTION 5.COLOR 6.MOVEMENT
  • 4. THE ANNUAL LIGHT EXPOSURE IS THE CUMULATIVE AMOUNT OF VISIBLE LIGHT INCIDENT AT A POINT, WITHIN THE BUILDING, OVER A 1-YEAR PERIOD (ANNUALLY). IN AN ART GALLERY THE MAXIMUM ANNUAL LIGHT EXPOSURE FOR VERY LIGHT SENSITIVE OBJECTS SUCH AS WATER COLOURS IS 150,000 LUX HOURS, WHEREAS MORE LIGHT FAST PIGMENTS SUCH AS OIL HAVE A HIGHER VALUE OF 600,000 LUX HOURS. INTELLIGENT LIGHTING SOLUTIONS STRIKE A PERFECT BALANCE BETWEEN LIGHTING QUALITY AND ENERGY EFFICIENCY. MAXXI – NATIONAL MUSEUM OF XXI CENTURY ARTS, ROME, ARCHITECTURE: ZAHA HADID AND PATRIK SCHUMACHER, LONDON / GB
  • 5. CITÉ DE L’ARCHITECTURE ET DU PATRIMOINE (Paris) USE OF DAYLIGHT FROM NORTH GIVES A CONSTANT SOURCE OF LIGHT WHICH HAS BEST CRI AND THE LIGHT LUX LEVEL REMAINS AFTER ITS COMPREHENSIVE RENOVATION, CONSTANT MOST OF THE DAYS. THE WILHELM HACK MUSEUM IN LUDWIGSHAFEN HAS TURNED INTO A PARAGON OF ENERGY EFFICIENCY. THE MUSEUM’S ENERGY COSTS HAVE BEEN SLASHED BY AS MUCH AS 70 %. DEPENDING ON LIGHTING CONDITIONS AND REQUIREMENTS, THE LIGHTING CAN NOW BE CONTROLLED USING SCENARIOS; EACH LUMINAIRE CAN ALSO BE DIMMED INDIVIDUALLY. THIS ENSURES OPTIMAL ILLUMINATION OF EXHIBITS AND ALSO ENSURES THAT EXTREMELY OLD,
  • 6. THE IMPORTANT CHARACTERISTICS OF GOOD LIGHTINGS ARE: •COLOR RENDERING INDEX(CRI) OF LIGHTING FIXTURE. •LUX LEVEL REQUIRED. •DIMMING TO GREATLY EXTEND LAMP LIFE. WEISHAUPT ART GALLERY BUILDING MARKED THE SUCCESSFUL USE OF MIXTURE OF DAYLIGHT AND ARTIFICIAL LIGHTING. DAYLIGHT IS PREDOMINANTLY SCREENED OUT SO THAT THE AMOUNT OF INCIDENT NATURAL LIGHT CAN BE
  • 7. CRI OF DIFFERENT TYPES OF LIGHTS •INCANDESCENTS BRING OUT THE WARM COLORS WITHIN THE COLOR SPECTRUM SUCH AS THE RED, BROWN, ORANGE, AND YELLOW TONES. •BUT ITS BAD THE COOLER COLORS SUCH AS VIOLET, BLUE AND GREENS. •THE BLUES, GREENS, AND VIOLETS WITHIN THE ART WORKS OF ART WILL BE FLATTENED OUT BY ROSE GALLERY AT THE SMITHSONIAN INCANDESCENT LIGHTS. AMERICAN ART MUSEUM ILLUMINATED WITH INCANDESCENT FIXTURES. •THESE LIGHTS ARE BETTER THAN FLUORESCENCE BUT ARE NOT THE ENTIRE SOLUTION TO THE LIGHTING PROBLEM. •FLUORESCENT LIGHTS AREN'T USED AS A COMMON PRACTICE BECAUSE THEY GIVE OFF A HIGH AMOUNT OF UV RAYS WHICH ARE HARMFUL. •IN ADDITION, FLUORESCENT LIGHTS DO NOT EMIT COLOR TEMPERATURE AT 3000K & LIGHT ACROSS THE ENTIRE SPECTRUM OF COLORS 2800K AND THIS IS PROBLEMATIC. •HALOGEN : •A STRONG WHITE LIGHT. •A VERY GOOD CRI VALUE. •BUT EMITS A LOT OF HEAT. •HENCE SOLUTION FOR THE HALOGEN MAY BE
  • 8. •A FEW DATA REGARDING THE LUMENS OUTPUT FOR THE DIFFERENT TYPES OF LIGHTS AND LIFE SPAN FOR THE SAME.
  • 9. LUX LEVEL REQUIRED: LIMITING ILLUMINANCES AND ANNUAL EXPOSURES FOR MATERIAL SENSITIVITY CLASSIFICATIONS (CIE DIV. 3 TC3-22, MUSEUM LIGHTING AND PROTECTION AGAINST RADIATION DAMAGE)
  • 10. TYPES OF LIGHTING SYSTEMS : THE MOST IMPORTANT LIGHTING SYSTEMS USED IN EXHIBITION ROOMS ARE: • LUMINOUS CEILINGS WITH OPAL GLASS ENCLOSURE (DIFFUSE LIGHT) OR SATINISED AND TEXTURED GLASS (DIFFUSE/ DIRECTIONAL), • INDIRECT LUMINAIRES (DIFFUSE), • COVE LUMINAIRES (DIFFUSE), • WALLWASHERS (DIRECTIONAL OR DIFFUSE/DIRECTIONAL), • SPOT LAMPS.
  • 11. LUMINOUS CEILINGS: •THE IDEA IS TO EMULATE THE SKY FOR THIS KIND OF LIGHTING SYSTEM. •LUMINOUS CEILINGS DELIVER LIGHT WHICH IS PARTICULARLY SUITABLE FOR PAINTING GALLERIES PREDOMINANTLY DIFFUSE WITH AN OPAL ENCLOSURE, •THE LIGHT SOURCES OF CHOICE ARE TUBULAR FLUORESCENT LAMPS ARRANGED ACCORDING TO THE STRUCTURAL GRID OF THE LUMINOUS CEILING. •FOR GOOD UNIFORMITY THEY SHOULD BE SPACED NO FURTHER APART THAN THE DISTANCE TO THE CEILING ENCLOSURE.
  • 12. INDIRECT LIGHTING: •INDIRECT LIGHTING ADDS BRIGHTNESS TO THE ARTS WITHOUT CREATING ANY DIRECT OR INDIRECT GLARE. •AN IMPACT SIMILAR TO THAT OF A LUMINOUS CEILING IS ACHIEVED WITH INDIRECT LIGHT BOUNCED OFF THE CEILING AND UPPER WALL SURFACES INTO THE ROOM. •THIS DIFFUSE, UNIFORM LIGHT IS PREDOMINANTLY USED IN ROOMS WHERE NO DAYLIGHT ENTERS. •IT IS PRODUCED BY SUSPENDED LUMINAIRES RADIATING LIGHT UPWARDS. •IN EXHIBITION ROOMS, LUMINAIRES FOR SUSPENDED POWER TRACK SYSTEMS ARE AN OPTION: THEY ARE INSERTED IN THE TRACK FROM ABOVE WHILE SPOTS FOR DIRECTIONAL LIGHTING ARE ACCOMMODATED IN THE LOWER CHANNEL.
  • 13. COVE LIGHTING: THE DIFFUSE LIGHT OF LUMINARIES INSTALLED IN THE CURVING TRANSITION BETWEEN WALL AND CEILING – THE COVE OR COVING – IS ANOTHER INDIRECT LIGHTING SOLUTION. •THE DIFFUSE LIGHT OF LUMINARIES INSTALLED IN THE CURVING TRANSITION BETWEEN WALL AND CEILING – THE COVE OR COVING IS ANOTHER INDIRECT LIGHTING SOLUTION. •THE MAIN DIRECTION OF LIGHT WITH COVE LIGHTING IS CLOSER TO THE HORIZONTAL THAN WITH A LUMINOUS CEILING. •THE LIGHT IS LARGELY SHADOW-FREE. •LINEAR LAMPS – GENERALLY TUBULAR FLUORESCENT LAMPS ARE THE MOST WIDELY USED LIGHT SOURCE. •EXCESSIVE LUMINANCE AT THE CEILING AND ON THE UPPER PART OF WALLS CAUSES GLARE AND INTERFERES WITH SPATIAL
  • 14. WALL WASHERS: •WALL WASHERS BRING ATTENTION TO THE WALL THAT CONTAIN THE ARTS AND ARTEFACT, WHICH IS CALLED ACCENT LIGHTING. TEHY BRING DRAMA & FOCUS TO THE OBJECT. •LED WALL WASHERS ARE DESIGNED FOR LARGER INDOOR/OUTDOOR ACCENT LIGHTING APPLICATIONS. •WITH A NUMBER OF COLOR, ANGLE AND CONTROL OPTIONS, THE LED WALL WASHERS ALLOWS USERS TO INTERFACE THE APPROPRIATE COLOR, SCENE AND INTENSITY SCHEMES NECESSARY TO COMPLETE LARGE INTERIOR LIGHTING TASK. •WALL WASHING PROVIDES AN EVEN SPREAD OF ILLUMINATION. •FOR VERTICAL SURFACES SUCH AS WALLS, LARGE PAINTINGS, WALL HANGINGS, BOOKCASES AND SHELVING, CABINET FRONTS, OR STAIRWELLS. THE DIFFUSE NATURE OF WALL-WASH
  • 15. SPOT LIGHTS: THE DIFFUSE LIGHT OF LUMINARIES INSTALLED IN THE CURVING TRANSITION BETWEEN WALL AND CEILING – THE COVE OR COVING – IS ANOTHER INDIRECT LIGHTING SOLUTION. AN EFFECTIVE TECHNIQUE FOR ACCENTUATING THE THREE- •"KEY AND FILL" IS DIMENSIONAL CHARACTER OF AN OBJECT. •THIS TECHNIQUE ENTAILS THE USE OF KEY AND FILL LIGHTING FROM TWO SIDES OF THE OBJECT. • KEY LIGHTING IS A HARD-ACCENT LIGHT USED TO CREATE SHADOWS AND TO HIGHLIGHT AN OBJECT'S FORM AND TEXTURE. •FILL LIGHT IS A SOFTER LIGHT THROWN FROM THE OPPOSITE SIDE OF THE •MAKING OBJECT TOTHE OBJECT SHADOWS. SOFTEN THE APPEAR MORE NATURAL. OTHER TECHNIQUES CAN ALSO BE APPLIED TO FURTHER ACCENTUATE THE UNIQUE CHARACTER OF AN OBJECT, SUCH AS SILHOUETTING.
  • 16. SPOTLIGHT WITH A PROTECTIVE UV FILTER HAS BEEN USED. THE SPOTLIGHTS CAN ALSO BE DIMMED INDIVIDUALLY BECAUSE THE PAINTINGS MUST NOT BE EXPOSED TO BRIGHTNESS IN EXCESS OF 50 LUX. THE GLASS SLOPES AT JUST THE RIGHT ANGLE TO PREVENT DISTRACTING REFLECTIONS ON DISPLAY CABINETS; THIS SLOPE ANGLE WAS DETERMINED ESPECIALLY FOR THIS PARTICULAR EXHIBITION. MUSEUM BOIJMANS VAN BEUNINGEN BOIJMANS VAN AN ARTIFICIALLY RECLAIMED ISLAND SOME 60 M FROM THE SEASIDE PROMENADE IN DOHA WITH A PALM-FRINGED APPROACH ROAD EMPHASISES THE EXTRAORDINARY STATUS OF THE UNIQUE DISPALY OF ISLAMIC ART. THE RATHER RESERVED AND SELF-CONTAINED EXTERIOR SURPRISES THE VISITOR WITH AN AMAZING OPENNESS INSIDE. PERFECT ILLUMINATION OF THE TREASURES OF ISLAMIC ART IN THE SPACIOUS HALLS AND GALLERIES IS ACHIEVED USING A CUSTOMISED SOLUTION DEVELOPED BY THE LIGHTING DESIGNERS IN CONJUNCTION WITH ZUMTOBEL. THE TALL, SLENDER GLASS DISPLAY CABINETS AND THEIR PRECIOUS EXHIBITS ARE PRECISELY ACCENT LIT BY OPTICAL FIBRES AND SPECIAL LIGHT OUTLETS. UV-FREE LIGHT PROVIDED BY
  • 17. FOR DELICATE EXHIBITS. THE SMALL SPOTLIGHTS WHICH SUPPLEMENT THE DISPLAY CABINET LIGHTING AS REQUIRED AND ALSO SHOW THE WAY AROUND ARE NOT TIED TO THE DISPLAY CABINETS AND ARE THEREFORE AS FLEXIBLE AS POSSIBLE. THE DECISION WAS MADE TO DISPENSE WITH ADDITIONAL AMBIENT LIGHTING IN ORDER TO RETAIN AN ATMOSPHERE WHICH IS AS EXCITING AS POSSIBLE. THE LOW- VOLTAGE SPOTLIGHTS HERE ARE SPECIAL MOTORDRIVEN VERSIONS, WHICH CAN BE ALIGNED VIA A TOUCH PANEL AND DIMMED USING DMX CONTROL. BELOW IS AN EXAMPLE OF EFFECTIVE GENTLE LIGHTING.
  • 18. A SOPHISTICATEDLY DRAMATIC CHIAROSCURO CONCEPT WITH PRECISELY SET CONTRASTS USING HIGH- POWER FRAMING SPOTLIGHTS PRODUCES AN EXTRAORDINARY EXHIBITION EXPERIENCE. ROOMS WITH ACCENT LIGHTING RANGING FROM GREEN AND SLATE BLUE TO RED – GLARE-FREE AND SURROUNDED BY A SUBTLE AURA – ALSO HELP CONVEY A SENSE OF SPACE PERFECTLY AND LIT BY ARCOS FRAMING SPOTLIGHTS TO MINIMISE THE ILLUMINATED WALL SURFACE AREA AND TURN EACH INDIVIDUAL WORK OF ART INTO A GLEAMING ISLAND IN ITS OWN RIGHT. SHARP OUTLINES – EVEN IN HIGH-CEILINGED THE ACCENT SPOTLIGHTS ROOMS ARE DALI DIMMABLE; THIS LANDESGALERIE AT THE UPPER AUSTRIAN ALLOWS FAST SETTING OF MUSEUM IN LINZ AND STRICT COMPLIANCE WITH SPECIFIED ILLUMINANCE LEVELS TO