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
•"KEY ANDSOLUTION.
FILL" IS AN EFFECTIVE TECHNIQUE FOR ACCENTUATING THE THREE-
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
MAKINGTOTHESOFTEN
•OBJECT OBJECT APPEAR
THE SHADOWS.
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