PERCEPTION OF LIGHT

& SHADOW IN
MUSEUM

MIRUDHULA
8215192510016
 INTRODUCTION

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”. Lighting is essential for human interaction in a space.

Technical illumination research lays a foundation to conduct analysis in a variety of museums. 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
museum. Psychological, physiological and experiential components are observed in the museum
environments to analyze lighting design within its exhibits.

 The dynamic nature of the building and the change in light along a day, create variable and
dynamic experiences for the visitor.

 Beauty of the light is felt in darkness.

Lighting plays a significant role in developing interaction between humans and museum artifacts in
one defined space." The goal of a museum is to create an interactive experience for the guests, as well
as preserve the condition of artifacts.

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SYNOPSIS
AIM:

The research aims to understand the how light and shadow creates space qualitative and quantitative in aspects of museum.

OBJECTIVE :

The objective of this research is to address & intellect

1. Understanding about museums

2. How lighting plays an important role in museums

3. Methods to communicate with visitors via museums exhibits, interior and exterior lighting

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4. Types of light to be used to enlighten the museum and to preserve the artifacts

5. Lightening design in museum

6. Findings and discussion of natural lighting and shadow design using model.

7. Conclusion and recommendations.

SCOPE and LIMITATION :

Design possibilities with light in museum are however not only limited to the display of art. The research limited to the
study of light and how it focus only on exhibit areas . The study would cover explaining the concepts of lighting,
lighting systems and techniques, colors and visual perception with respect to the needs museum. It is not possible for me
to travel therefore I intent to utilize literature study instead of live case study.
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 UNDERSTANDING THE
TOPIC

FORMULATING RESEARCH OBJECTIVE

SCOPE & LIMITATIONS

STUDY & DATA

IDENTIFICATIONS

LITERATUE
CASE STUDY
STUDY

FORMULATING
TECHNIQUES

ANALYSIS

CONCLUSION

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UNDERSTANDING THE MUSEUM
 WHAT IS A MUSEUM?
Museums are usually funded by public money and guided by
a board of directors. It is important to keep this in mind when
designing them so that they can fill the needs of their visitors,
while also being financially sustainable.
A museum will sometimes be designed to house a specific
collection, but it may also be designed to have different
exhibits and collections throughout the year. The type of
collections will have an impact on the way the museum is
designed.

There
 Art are many different types of museums, including:
museum
 Natural History
Architecture museums
museums
 Science
War and museums
History
Children’s Museums
museums
 Archaeology museums
ETYMOLOGY OF MUSEUM
The museum, as a cultural organization,
outlines a long history over time. The
word museum has its origins to ancient
Greece. It comes from the Greek word
“Μουσεῖον”, which means “seat of the
Muses”. The nine Muses were goddesses
who protected the arts and were sources
of inspiration, according to Greek
mythology. The later use of the Latin
derivation refers to places of meditation
and philosophical discussion. This role
of a museum-sanctuary in ancient
Greece, as a spiritual space that
combines arts and sciences, is a forefront
in the intellectual culture of societies.
 EVOLUTION OF MUSEUM
ARCHITECTURE 530 Mesopotamia of 530 B.C contained the
B.C First recorded museum , that Ennigaldi-Nanna .

2000 Alexandria , Egypt the building set apart for study and arts
B.C At first blended with the library .

400 ad Greeco roman period

Renaissance period First museum

1786 Charles Wilson ‘s cabinet of curiosities in philadelpia in
1786

Figure - Pietro Antonio Martini, Exhibition of the Royal Academy, 1787 1850 Linnaean period

Modern museum.
Present

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 HISTORY
The earliest museums were private collections that were not open and were only accessible to a
narrow circle of people. They displayed rare and curious natural objects and artifacts. Some
worked as “wonder rooms” or “cabinets of curiosities.” The oldest known museum was
Ennigaldi-Nanna’s museum, collected by Princess Ennigaldi and dated from 530 BC.
1. Ancient Origins: The roots of museums can be traced back to ancient civilizations. Ancient
Egyptians had repositories for preserving and exhibiting precious objects, such as the temple
treasuries and the royal tombs in the Valley of the Kings. The ancient Greeks also had
spaces, such as the temples and sanctuaries, where artifacts were displayed and revered.
2. Renaissance Cabinets of Curiosity: During the Renaissance period in Europe (14th to 17th
centuries), wealthy individuals and collectors began assembling private collections of
unusual and extraordinary objects. These collections, known as Cabinets of Curiosity or
Wunderkammern, encompassed a wide range of objects
3. Early Modern Period: In the 18th and 19th centuries, significant developments in museum
history took place. Institutions such as the British Museum (founded in 1753) and the
Louvre Museum (originally a royal palace, opened to the public as a museum in 1793)
emerged during this period.
4. National Museums and Public Accessibility: The 19th century witnessed the establishment
of numerous national museums around the world. These institutions aimed to showcase a
country's cultural heritage and promote national identity.
5. Modern Museum Practices: In the 20th century, museums underwent significant changes in
terms of their mission, approach, and engagement with visitors. Museums began to focus not
only on collection display but also on interpretation, education, and public programming.
6. Contemporary Trends: In recent decades, museums have continued to evolve, responding to
societal changes and embracing innovation .Digital technologies have also transformed the
way
Sample museums
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online collections, and interactive experiences.
 MUSEUM LIGHTING
The lighting design in a museum or building that houses sensitive objects is a complicated process.
Considerations need to be taken first and foremost on the effects of natural and artificial lighting on
the exhibits. Direct sunlight should not fall on a collection item and there are detailed guidance
documents relating to UV radiation and light dosage which go beyond the scope of this article.
Lighting can also create a mood and experience for the visitor as they pass through the
collections. It is important that visitors aren’t subjected to extreme changes in brightness as this
can be uncomfortable. However changes in lighting is important in order to provide interest.
Coloured lighting can also be used as well as different types of lights. It can be used to create
highlights and shadows around the collections.

A lighting specialist would usually be consulted for a museum design.

Climate, environment and temperature

Museum collections are often sensitive to any fluctuations in temperature, humidity and air
pollution. Therefore it is important the climatic conditions are designed carefully and remain
constant in any areas that house the exhibits, including any storage facilities.
There are guides available that demonstrate suitable relative humidity and temperatures for museums
and galleries. It is likely a specialist will be consulted to assist with the environment design of the
museum, to ensure the conservation of the exhibits.

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LIGHT
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HISTORY OF LIGHT
To the best of our archaeological knowledge, the first attempt at man-made
lighting occurred about 70,000 years ago. The first lamp was invented made
of a shell, hollowed-out rock, or other similar non-flammable object which
was filled with a combustible material (probably dried grass or wood),
sprinkled with animal fat (the original lighter fluid) and ignited. As time
passed, materials such as pottery and alabaster were used. Wicks were added
to the lamp to control the rate of burning. Around the 7th century BC, the
Greeks started making terra cotta lamps to replace handheld torches.
Indoor lighting lamp in egypt
The Introduction of Artificial Light

Between 1825 and 1850, piped gas lighting was introduced into
interior spaces. By the end of the 19th century, piped gas lighting and
the Welsbach mantle were replaced by electric carbon-filament lamps
which became a popular source of illumination in museums.
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 Artificial Illumination Daylight
Several types of artificial light sources are used in Museum designs incorporate daylight because humans relate to nature. "Natural Light can
interior applications to provide light for visibility, be used to great effect to dramatize and enliven the design of any building. Light defines
tasks, accent and decoration.
a space within a building’s design. Daylight always fluctuates and often is fused in
Typical interior artificial light sources include interactive spaces. Cloud cover, season, the time of day and a building’s position are
incandescent, fluorescent, HID, fiber optics, factors directly impacting lighting design and how humans experience the space. The
cold cathode and LEDs. Incandescent lamps are amount of daylight penetrating the museum interior must be given serious consideration
generally used for ambient and accent lighting
to understand how natural light impacts the space.
with track luminaires.
In museums, incandescent, fiber optic and HID is Factors such as
the most common light sources. With indirect
lighting, fluorescent lamps are used to diffuse
 Reflection,
illumination quality. Accent lighting includes
PAR-type incandescent and tungsten halogen.  Glare,
Incandescent, compact fluorescent, tungsten
halogen, metal halide and fiber optic are
recommended to use in case, cabinet and under-
 Acclimation and
shelf lighting. Flood lighting typically consists of
recessed down lights or track-mounted fixtures  Delineation in the space
with incandescent, tungsten halogen and HID
light. The location and purpose of the light, along
with the type of light source, become crucial in
 Scale and proportion are important considerations.
providing the correct amount of light and the
lamp properties for interior applications in the The “ceiling height and room depth” directly correlate to the amount of daylight absorbed
museum. and explore the intent of light in the space

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 LIGHTING PARAMETERS
A good lighting is that which makes seeing easy and comfortable with required degree of perception.
Consequently, a lighting installation must fulfill the quantitative and qualitative requirements of the interior,
which are as follows:
1. Illumination level
2. Absence of contrast
3. Shadow
4. Glare
5. Color redemption

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 SHADOWS IN MUSEUM
Visual effects: Shadows can enhance the visual experience by adding
Shadows play an important role in museums as they
depth and dimension to the artwork or exhibits. They can create
contribute to the overall visual experience, enhance
interesting patterns, textures, and contrast, making the objects more
depth perception, and create a sense of drama and visually appealing.
realism. Here are some key aspects of the role of
shadows in museums: Negative impact:

1. Depth and Dimension: Obstruction of visibility: Shadows can obstruct the viewer's ability to see
the details and colors of the exhibits, particularly if they are cast
2. Visual Contrast: directly on the objects. This can hinder the overall viewing experience
and reduce the appreciation of the artwork.
3. Dramatic Effect:
Conservation concerns: Shadows can contribute to the degradation of
4. Preservation and Conservation:
sensitive artworks or artifacts. Prolonged exposure to intense or direct
5. Interactive and Engaging Elements: sunlight, which often casts harsh shadows, can cause fading,
discoloration, and deterioration of delicate materials.
6.Historical Context and Atmosphere:
To mitigate the negative impact of shadows in museums, lighting design
7.Artistic Expression: and conservation strategies are implemented. Properly placed artificial
lighting can minimize shadows and highlight the objects effectively.
Additionally, UV filters and light control measures can be employed to
protect the exhibits from harmful sunlight and minimize the potential
damage caused by shadows.

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 WHY LIGHTING REQUIRED IN MUSEUM
Lighting plays a vital role in museums in several ways:
1. Visibility and Clarity:
2. Conservation and Preservation:
3. Aesthetic Presentation:
4. Interpretation and Storytelling:
5. Atmosphere and Engagement:
6. Wayfinding and Navigation:

– It can be used to alter the mood of the exhibition space

– It can be used to draw the eye to stunning artwork and sculptures
– The subtle play of light and dark can be used to guide the visitor’s journey from entrance to exit
The lighting of museums and gallery spaces needs to highlight and accentuate the texture, colour and shape of exhibits, whether they
are historic artefacts, modern art 2D paintings or 3D sculptures. The play of light and dark can be used to great effect in display
environments. Dramatic tension can be created in a darkened exhibition space thanks to narrow beams of light cutting through the
darkness, drawing the visitors’ gaze to the pieces on display.

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 DAYLIGHT FACTOR
In architecture, a daylight factor is the ratio of the light level
inside a structure to the light level outside the structure. It is
defined as:

DF = (Ei / Eo) x 100%

where, Ei = illuminance due to daylight at a point on the
indoors working plane, Eo = simultaneous outdoor
illuminance on a horizontal plane from an unobstructed
hemisphere of overcast sky.

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 BEAM ANGLE LIGHT
Thanks to the wealth of beam angles available, designers and curators can
create any desired effect, be it the accentuation of a small object on a
plinth or the illumination of a large sculpture or installation.
Narrow spots deliver high intensity light over greater distances and have a
beam angle of <10°.

– Spotlights with a 10°-20° beam angle are particularly useful for accent
lighting 3D shapes
– Flood lights, with a beam angle of 25°-35° and wide floods with a beam
angle of >45° are flexible tools for creating uniform light across large
surface areas

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PERCEPTION OF LIGHT :
PSYCHOLOGY
 LIGHTING PSYCHOLOGY
Lighting psychology helps us understand how people respond
cognitively and emotionally to light. Once you know how different
lighting choices impact people, you can adjust it to reflect the purpose
of the room.

While many psychological factors can influence how we perceive light,

the position of a light as well as its brightness, hue and saturation are
important ones to consider.
The Colour Temperature of Lighting
The colour temperature of light is another factor that massively affects
our bodies. Warm lights (those with a lower colour temperature) appear
less bright than cool lights (those with a higher colour temperature).
The temperature, then, refers to the colour that the light being emitted
appears to our eyes.

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 The perception of light in a museum is a crucial aspect that greatly influences the visitor experience and the presentation
of exhibits. Here are some key points regarding the perception of light in a museum:
1.Illumination of Exhibits: Adequate illumination ensures that visitors can see the details, colors, and textures of the
artworks or artifacts on display.
1. Lighting Levels: The intensity of light in a museum affects the perception of the exhibits. Brighter lighting can
create a vibrant and energetic atmosphere, drawing attention to the objects. On the other hand, lower lighting levels
can create a more intimate and contemplative ambiance, enhancing the viewing experience for certain types of
artworks or exhibitions
2. Color Rendering: Light color and quality impact how objects appear to viewers. The color rendering index (CRI)
measures how accurately a light source reveals the true colors of objects.
3. Direction and Angle: The direction and angle of lighting play a significant role in highlighting specific details and
creating a sense of depth. Varying the angle of light can create shadows, adding depth and enhancing the visual
interest of the exhibits.
5. Natural and Artificial Light Integration: Museums often incorporate a combination of natural and artificial
lighting. Natural daylight can provide a soft, diffused illumination that creates a more natural and inviting
atmosphere. Strategic placement of windows, skylights, or lightwells can allow controlled amounts of natural light to
enter the museum space, enhancing the visual perception of the exhibits. Artificial lighting is used to supplement
natural light and ensure consistent illumination throughout the museum, especially in areas with limited access to
daylight.
6. Lighting Control: Museums often employ lighting control systems to adjust and fine-tune the lighting conditions.
Dimmers, timers, and sensors can be used to manage lighting levels, respond to changing daylight conditions, and
conserve energy.
The perception of light in a museum is a delicate balance between illuminating the exhibits effectively, creating a
visually appealing environment, and enhancing the visitor's experience. Through careful planning and design,
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LIGHTING DESIGN
CONSIDERATIONS
 LIGHTING ART
The two principal methods are:
1.Uniform illumination
2.Non uniform illumination
Providing uniform lighting for all vertical surfaces that will receive art gives
prominence of the architecture; no hierarchy is established among the
individual works of art, allowing viewers to select their own focus. It is possible
to change objects without readjusting the lighting equipment.
Providing non-uniform lighting focuses light on individual objects while leaving
the surround in comparative darkness. This gives prominence to the art over
the architecture, creating a more dramatic environment. Every time the art
changes, the lighting equipment need to be readjusted.
In a space that will have frequently changing art work or exhibits and non-uniform
illumination, a flexible lighting system is appropriate. Track systems are often
selected because it is easy to locate and to aim the track luminaries as needed.
The track itself also serves as the wire way, providing a simple method of power
distribution.

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 LIGHTING SYSTEM - ARTIFICIAL
1. LUMINOUS CEILINGS WITH OPAL GLASS ENCLOSURE (DIFFUSE LIGHT) OR SATINISED AND
TEXTURED GLASS (DIFFUSE/ DIRECTIONAL)
2. INDIRECT LUMINAIRES (DIFFUSE)

3. COVE LUMINAIRES (DIFFUSE)

4. WALLWASHERS (DIRECTIONAL OR DIFFUSE/DIRECTIONAL)

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 TYPES OF NATURAL
LIGHTING

LATERAL
TOP LIGHTING
LIGHTING
Side lighting is a lighting technique that
Lighting from above offers the best distribution
directs a light source from one side of a
of diffuse skylight, with deeper penetration and
subject. The angle of the side lighting
better uniformity of daylight. Toplighting is best
depends on the position of the subject or the
where light is desired but a view is not necessary.
position of the light, but ultimately is
It offers better security and frees up wall space.
defined by exposing only one side of a
Toplighting may eliminate the need for electric
subjectDirect sunlight coming through a
lighting on the top floors of a building during
window and striking a worksurface can
daylight hours. Unlike sidelighting, it is easy to
result in uneven light distribution and glare
distribute uniformly. Toplighting controls glare
in the visual field. Light that arrives from a
from low angle sunlight better than sidelighting.
shaded area or on an overcast day is more
acceptable

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NET CASE STUDY
 Concept JEWISH MUSEUM
The Libeskind building (about 15,000 m2) has a twisted zig-
zag form. It is accessible only via an underground
passage from the old building. The design created before
the Berlin Wall came down is based on three insights.
Firstly, it is impossible to understand the history of Berlin
without understanding the enormous contributions made
by its Jewish citizens. Secondly, the meaning of the
Location - Berlin, Germany Holocaust must be integrated into the consciousness and
DATE-2001 memory of the city of Berlin. Finally, the City of Berlin
and the country of Germany must acknowledge the
Competition: 1989 Completion: 1999 Opening: Lighting
erasure of Jewish life in its history
2001
The interior of the structure is much
STATUS -Completed
more complex than the exterior.
CLIENT -Stiftung Juedisches Museum Berlin Libeskind’s zig-zag formation leads
people to galleries, empty spaces, and
Architects- Studio Libeskind dead ends. The extension had
• Area- 13000.0 m² differentiating materials, which made
the spaces more realistic and this also
increased the connection of the people
with the spaces. With the help of
reinforced concrete in the interiors,
Libeskind reinforces the moments of the
empty spaces and dead ends where only
a ray of light is entering the space. With
this he makes the visitors experience the
situation of Jewish people during
WWII, that how a ray of light restores
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 The Kimbell Art Museum’s original building, designed by Louis I.
Kahn and opened to the public for the first time in 1972, has KIMBELL ART MUSEUM
become a mecca of modern architecture. Kahn designed a building
in which “light is the theme.” Natural light enters through narrow
plexiglass skylights along the top of cycloid vaults and is diffused
by wing-shaped pierced-aluminum reflectors that hang below,
giving a silvery gleam to the smooth concrete of the vault surfaces
and providing a perfect, subtly fluctuating illumination for the
works of art.
Location – Forthworth , USA
DATE-1972
STATUS -Completed The main (west) facade of the building consists of three 100-foot bays,
CLIENT -Renzo piano each fronted by an open, cycloid-vaulted portico, with the central,
Architects- Louis I khan
entrance bay recessed and glazed. The porticos express on the
Area- 13000.0 m²
exterior the light-filled vaulted spaces that are the defining feature
He specified that "natural light should of the interior, which are five deep behind each of the side porticos
play a vital part" in the design, and and three deep behind the central one. Additionally, three
interviewed many architects including
courtyards punctuate the interior space. Though thoroughly modern
Marcel Breuer, Mies van der Rohe, Pier
Luigi Nervi, Gordon Bunshaft, and in its lack of ornament or revivalist detail, the building suggests the
Edward Larrabee Barnes, but grand arches and vaults of Roman architecture, a source of
commission was awarded to Kahn in inspiration that Kahn himself acknowledged. The principal
late 1966. The two couldn't have been a
materials are concrete, travertine, and white oak.
better pair, as Brown had always
admired Kahn's emphasis on natural
light.

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 LOUVRE MUSEUM , ABU DHABI
. A symphony in concrete, water and the subtle play of reflected light, its design
was inspired by the region’s rich architectural traditions and the museum’s
unique location at the point where the Arabian sky meets the sands of Saadiyat
Island and the waters of the Arabian Gulf. Now considered as one of the
modern urban wonders of the world, Louvre Abu Dhabi is not only the Arab
world’s first universal museum but a powerful symbol of the United Arab
Emirates’ ambition and achievement.
The Louvre Abu Dhabi is an art
A floating dome of light and shade
museum located on Saadiyat Island in
Abu Dhabi, United Arab Emirates. It The centrepiece of Nouvel’s vision is a huge silvery dome that appears to float
runs under an agreement between the above the museum-city. Despite its apparent weightlessness, the dome weighs
around 7,500 tonnes (similar to the Eiffel Tower in Paris).
UAE and France, signed in March
2007, that allows it to use the Inspired by the cupola, a distinctive feature in Arabic architecture, Nouvel’s dome
Louvre's name until 2037, and has is a complex, geometric structure of 7,850 stars. These stars are repeated at
various sizes and angles in eight different layers.
been described by the Louvre as
"France’s largest cultural project As the sun passes above, its light filters through the perforations in the dome to
abroad." create an enchanting effect within the museum, known as the ‘rain of light'.
This tribute to nature is inspired by the palm trees of Abu Dhabi. Their leaves
filter and soften the bright sunlight from above to project a dappled pattern on
Address: Saadiyat - Abu Dhabi - the ground.
United Arab Emirates
Architect: Jean Nouvel The dome’s complex pattern is the result of a highly studied geometric design. The
pattern is repeated at various sizes and angles in the eight superimposed layers.
Founded: 7 March 2007
Each ray of light penetrates the eight layers before appearing or disappearing.
Owner: Abu Dhabi Department of The result is a cinematic ‘Rain of Light’ effect as the sun’s path progresses
Culture and Tourism throughout the day. At night, it forms 7,850 stars visible from both inside and
Director: Manuel Rabaté out. This ‘Rain of Light’ effect has been the subject of many models and mock
ups over the years and is one of the defining features of the concept.
. Filtered natural light can be present in all the galleries, either from lateral
windows with views onto the surrounding environment or through zenithal
lighting. This involves the use of glass mirrors to capture sunlight and direct it
into the gallery spaces while also scattering rays to avoid glare. There are 17
glass ceilings within the museum galleries. Each is made up of 18 different
types of glass panels. In total, there are over 25,000 individual pieces of glass.
These glass ceilings incorporate both natural and artificial lighting to provide
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COMPARATIVE STUDY
DYNAMIC
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 INFERENCE
Lighting and behavior:

• People follow the brightest path Brightness can focus

attention
• Facing wall luminance is a preference Lighting can
affect body position
• Visual task: Providing enough light to recognize a flaw
in black silk or to be able to walk safely through a
corridor.
• Visual interest: Something that adds a touch of magic,
or something to tickle the user's "joy button."
• Ambient layer: Mood is established by down
• lighting and indirect lighting of the space.
• . Task layer: This is horizontal work sufface which
creates some drama within a small area.
• Focal layer: This is limited to vertical lighting. creates
more drama..

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CONCLUSION
 ARTICLE RESEARCH ANALYSIS

Lighting of Art, Key Factors, and Past Research

In order to contextualize the following studies, it is first useful to consider:
(1) what are the main parameters of lighting, how do these vary or correspond to
technologies (i.e., bulbs or lighting systems), and how do these connect with curator
decisions?
(2) What are the existing parameters currently applied to art within galleries?
(3) What is the existing art-related research from which this study can build and
outstanding questions?

Among these, and when describing art lighting choices, two technical parameters are
however most commonly considered:
(1) general brightness or illuminance and
(2) color temperature.
Brightness, or more precisely, lighting intensity, is defined as the proportion of light
that falls on a unit of area. This is typically denoted by the measure of Lux (‘lx,’
luminous energy by unit time, indicated in lumens per the surface area in square
meters)
Color temperature provides a means of quantifying the color impression of a light
source.

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 DESIGN STRATEGIES
A number of design strategies should be understood and explored during the design
process. Some such strategies are listed here:

• Allow daylight penetration high in a space.

Windows located high in a wall or in roof monitors
and clerestories will result in deeper light penetration
and reduce the likelihood of excessive brightness.
• Slope ceilings to direct more light into a
space.Sloping the ceiling away from the fenestration
area will help increase the surface brightness of the
ceiling further into a space.
Increase perimeter daylight zones—
• Avoid direct beam daylight on critical visual tasks
extend the perimeter footprint to maximize the usable day
Poor visibility and discomfort will result if excessive lighting area.
brightness differences occur in the vicinity of critical
visual tasks.

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 LIGHTING TECHNIQUES THREE DIMENSIONAL EXHIBITS
TWO DIMENSIONAL EXIBITS Modelling sculptures with light and shadow
Wallwashing for a harmonious impression of the room Defining shapes with shadows Directed light, produced by
Using wallwashing for a bright and spacious impression of the spotlights, creates hard-edged shadows for distinctive modelling
room Uniform wallwashing provides a neutral back - drop for of three-dimensional objects. The position of the light source is
exhibitions and presents artwork on the walls in an objective crucial for the shadow image. A steep angle of incidence over a
manner. It is suitable particularly where the mood to be induced short distance produces long and large shadows. Generally, an
for viewing artwork is to be contemplative rather than dramatic. angle of incidence of 30° has proven optimal for the modelling of
Uniform illumination of vertical surfaces gives the impression sculptures. Exhibition lighting based solely on directed light
of a bright and spacious room, with even bright - ness levels further enables sharp contrasts of light and dark. The localised
creating a harmonious atmosphere in which pictures and wall beams of the accent light evoke a magical atmosphere in which
form an integrated whole. individual aspects can mysteriously stand out against the dark.

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 CONCLUSION
In conclusion, lighting plays a crucial role in museums, significantly impacting the overall visitor experience,
preservation of artifacts, and aesthetic presentation. Thoughtfully designed lighting in museums can achieve the
following:

1. Enhance Visibility: Proper lighting ensures clear visibility of exhibits, allowing visitors to appreciate the
details, colors, and textures of the objects on display.
2. Preserve Artifacts: Lighting systems are designed to minimize UV radiation and control light exposure,
protecting delicate artworks and artifacts from fading, discoloration, and degradation.
3. Create Atmosphere and Ambience: Lighting design sets the mood, creates contrasts, and evokes emotions,
enhancing the overall atmosphere and immersing visitors in the museum's narrative.
4. Guide Focus and Attention: Lighting techniques such as spotlighting, accent lighting, and wall washing draw
attention to specific objects, guiding visitors' gaze and facilitating their engagement with the exhibits.
5. Facilitate Interpretation and Storytelling: Lighting can be used as a storytelling tool, recreating historical
contexts, simulating natural environments, and evoking emotions, enriching the narrative and interpretation of
exhibits.
6. Promote Engagement and Interaction: Dynamic lighting installations or interactive displays can actively
engage visitors, fostering a sense of participation and intrigue.
7. Assist Wayfinding and Navigation: Well-designed lighting helps visitors navigate the museum space easily,
highlighting entrances, exits, and directional signage.
8. Optimize Comfort and Well-being: Appropriate lighting levels and color temperatures contribute to visitors'
comfort and overall satisfaction within the museum environment.\
By considering these factors and employing a range of lighting techniques, museums can create captivating,
educational, and emotionally impactful experiences for visitors, while ensuring the preservation and
presentation of their valuable collections.
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THANK YOU .

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