Museum lighting design analysis
In order to complete the exhibits, attention should be paid to the damage of light radiation to the exhibits. Filters should be used to filter the ultraviolet and infrared rays of the lamps. The illumination level of the exhibits should also be strictly controlled. At the same time, the annual exposure of the lights of the exhibits should be controlled. Assuming that the illumination level of the exhibits is 200lx and the museum is illuminated for 60h per week, then for the exhibits, the total exposure for one year is 600,000lx*h. (As shown below)
As an organic part of the museum scene, lighting should be able to truly restore the color, detail, level, contrast and sharpness of the exhibits, so as to truly restore the ancient and modern culture and history. Therefore, it is recommended to use a light source with a color temperature of less than 3300K for general museum lighting, while maintaining the color temperature integrity of a unified environment. For places with high requirements for color discrimination such as paintings, colored fabrics, multi-color exhibits, etc., a light source with a general color rendering index (Ra) of not less than 90 should be used as the lighting source; for places with general color discrimination requirements, a general display Light sources with a color index of not less than 80 are used as lighting sources. For three-dimensional exhibits, the details are outlined by a combination of directional lighting and diffuse lighting; for some large-scale three-dimensional exhibits, directional lighting and reflective lighting are used to cast from both sides, resulting in different degrees of shadows and highlighting the three-dimensional effect. Exhibition lighting should reflect the artistic effect of cultural relics with a three-dimensional sense through different brightness contrast, light and dark matching, light and shadow combination, and use light to give life to cultural relics and present them realistically.
There should be no direct glare from light sources or windows or reflected glare from various surfaces within the viewer's field of view of the exhibit. For the one-time reflection glare formed by the lamps and lanterns on the exhibits, the lamps can be installed in the lighting area without reflection interference to remove them. (As shown below)
One-time reflection glare removal
The image of the audience or other objects on the glossy surface (such as showcase glass or picture frame glass) should not hinder the audience from viewing the exhibits; for oil paintings or exhibits with glossy surfaces, there should be no light curtain reflection in the viewing direction of the audience. (As shown below)
Avoidance of secondary reflection glare
Case appreciation:
National Museum
Each piece of Terracotta Warriors and Horses in the Mausoleum of Qin Shihuang is a treasure of art. However, when you see the neat array of Terracotta Warriors and Horses, you will never feel the superposition in a simple sense, but the shock and impact brought by infinite repetition. One of the scenes in the National Expo is the Terracotta Warriors of Qin, in the form of two and a half. The advantage of this form is that the small space reflects the big scene, the key is to express the front scene finely, the background blur to lay out the grand scene, and to extrapolate the fine Q information obtained from the foreground to the infinite scene. A typical way to point to surface.
In a group of pottery figurines, we can see that the light not only plays the role of illumination, but also the light spot forms a rich compositional element and plays a decorative role. More importantly, the subtle changes in lighting have differentiated the primary and secondary relationships of the characters, allowing the audience to see the difference between the historical hierarchy and identity attire from the static furnishings. The lighting has a deeper role in introducing history and culture. .
An exhibition is a dialogue between art or history and the audience. If this is correct, then lighting design is about using the language of light to establish relationships: the relationship between the exhibits; the relationship between the exhibits and the environment, and the audience's sense of participation and communication with the entire space. How to establish this relationship is where the language means of light comes into play.
Gold accessories become the master of the space in the dark, and the audience becomes a background like a silhouette in the dark.
In the non-exhibition area, light and shadow form simple and beautiful graphics on the wall, and Guan Zhong’s intentional or unintentional participation will activate the atmosphere of the space. History is not heavy, and history continues among today's people.
An important function of lighting is to create drama or communication, so that people's behavior can change the effect of the environment intentionally or unintentionally.
A beam of light that is set in front of the relief sculpture of the Six Horses of Zhaoling and is directed vertically to the ground falls from the sky. You may not notice its existence, but when an audience stops to watch the work, it will be illuminated by the light, and he (she) himself has become The environment and even the components of the art, even the color of his (her) clothes are mapped to the wall, like performance art, the name is: Dialogue History, or: Everyone Can Change History.
Since there was no exhibition and it was not open, I had to place a cardboard box directly under the spotlight to indicate that the scene I imagined might happen if there was an audience standing there.
