IESNA RP-30-1996 Museum and Art Gallery Lighting A Recommended Practice.pdf

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1、 STD-IESNA RP-30-ENGL L99b Li70i.i580 0004599 05b W IESNA RP-30-96 Museum and Art Gallery Lighting: A Recommended Practice Publication of this Draft Standard for trial use and comment has been approved by the IESNA. Distribution of this draft standard for comment shall not continue beyond March, 199

2、9. It is expected that following this date, RP-30-96, revised as necessary, will be submitted to the American National Standards Institute for approval as an American National Standard. Suggestions for revisions should be directed to IESNA. STD.IESNA RP-30-ENGL L77b m q7OY580 000Lib00 bT8 B IESNA RP

3、-30-96 Prepared by the IESNA Committee on Museum and Art Gallery Lighting Frank A. Florentine, Chair Members C. Cuttle A. Donato D. Fahnestock R. Feller D. Gelman* M. Gelman M. B. Gotti R. Green* R. Grenald S. Hefferan P. Himmelstein J. Horton D. Howell C. Kesner F. LaGiusa A. Reo E. Robinson R. Rum

4、mel* *Advisory Members STD=IESNA RP-30-ENGL L77b = Li70Li580 0004bOL 53q IESNA RP-30-96 Copyright 1996 by the Illuminating Engineering Society of North America. Approved by the IESNA Board of Directors, May 13, 1996, as a Transaction of the Illuminating Engineering Society of North America. All righ

5、ts reserved. No part of this publication may be reproduced in any form, in any electronic retrieval system or otherwise, without prior written permission of the IESNA. Published by the Illuminating Engineering Society of North America, 120 Wall Street, New York, New York 10005. IESNA Standards and G

6、uides are developed through committee consensus and produced by the IESNA Office in New York. Careful attention is given to style and accuracy. If any errors are noted in this document, please forward them to Rita Harrold, Director of Educational and Technical Development, at the above address for v

7、erification and correction. The IESNA welcomes and urges feed- back and comments. Printed in the United States of America. IESNA RP-30-96 . Table of Contents 1 .o 2.0 3.0 4.0 5.0 6.0 7.0 8.0 9.0 10.0 11.0 12.0 INTRODUCTION 1 SUCCESSFUL MUSEUM LIGHTING 1 DESIGN GUIDELINES . 2 DAMAGE TO MUSEUM EXHIBIT

8、S . 12 THE FOUR TYPICAL LIGHTING PROBLEMS . 22 ARCHITECTURAL ASPECTS color should not change the look of an artifact. The over- riding consideration must be the “original appear- ance” of the artifact. Lighting designers must apply their knowledge of the basic lighting palette-red, blue, and green-w

9、ith an under- standing of the color temperature and the color rendering index of the light to assure that the arti- Figure 2.1. This lighting design model illustrates how focused creative effort including the four basic artistic elements (form, color, content, and dimension) can lead to the implemen

10、tation of a visually interesting and informative exhibition. 2 STD*IESNA RP-IO-ENGL 277b Li704580 0004b07 T52 = facts illuminated appear as their makers intended. Enhancement of certain colors with selective col- ored light is usually not appropriate when lighting museum artifacts. The Universal Col

11、or Language is based on the Munsell Color System and the idea of precisely defined color name blocks. Essentially, color is “hue”, lightness is “value”, and saturation is “chro- ma.” For example, lemons and bananas are yel- low: thats hue. The yellow lemon is much lighter than the yellow banana: tha

12、ts value. The yellow lemon is also more vivid than the banana: thats chroma.7 The Color Rendering Index (CRI) of the lamp and its correlated color temperature (CCT) will affect the color appearance of artifacts. The Color Rendering Index (CRI) of a light source indicates the degree of color shift ob

13、jects undergo when illu- minated by the-light source as compared with the color of those same objects illuminated by a refer- ence source of comparable color temperature. Typically, the higher the CRI, the better the light source for maintaining “true” color (although this is not always the case). T

14、herefore, lamps with CRI values of 80 or greater should be used. The CCT of the light source will determine whether the display takes on a “cool” or a “warm” appear- ance, expressed in Kelvin (K). Higher Kelvin val- ues are “cool” or more blue; lower Kelvin tempera- tures are “warm” or more red. Noo

15、ntime daylight is cool and has a CCT of about 5000 K; triphosphor fluorescent lamps exhibit CCTs from 2800 K to 6500 K; tungsten-halogen lamps have CCT around 3000 K; and an incandescent lamp is warm and has a CCT of about 2800 K.8 2.1.3 Content. The third artistic basic is content. It begins with t

16、he script and consultations with the curator, conservator, educator, and exhibition designer. These discussions and the script guide the lighting designer in choosing the direction that the viewers eye will follow. Certain artifacts or areas may be highlighted so that the visitor notices them first.

17、 This emphasis helps the viewer progress through an exhibition. Casual spectators will be attracted to the brightest sections. The more interested visitor will stop and enjoy the parts with lesser illumination. The lighting designer must adjust the lighting to complement the graphic and artifact lay

18、out. Titles should receive more empha- sis than paragraphs. IESNA RP-30-96 2.1.4 Dimension. The final artistic basic is dimen- sion. All artifacts in a museum, including “flat” paintings and works on paper, have three dimen- sions. Therefore, when lighting artifacts, care must be taken to make visib

19、le the third dimension. The designer should look at an object from many differ- ent angles, observing its physical nuances, includ- ing surface texture and gloss. The mass of an object, that is, the three-dimensional space it occu- pies, should be enhanced. Neglecting this can result in an object th

20、at resembles a color trans- parency more than a physical artifact. It is impor- tant to give each artifact its “space”, enhancing the physical presence of the object. This may require lighting from a number of different directions, and/or lighting the background.9 2.1.5 The Design Concept. The desig

21、n concept is formed by applying these four artistic basics. This is the heart of designing. Judicious concept development creates a path for the remainder of the design, much like river banks channeling water to the ocean. The design concept should express the exhibits artistic intent, concisely sta

22、ting how the lighting will help convey the exhibition concept. Concept development begins by analyzing the rea- sons for the exhibition, or identifying the dominant elements. The designer should then put these ideas into a simple, declarative sentence expressing the lighting concept. Write this conc

23、ept down on paper! This becomes the “channel” through which the design flows. This one step, followed religiously, will prove immensely valuable. Do it first! Concept development leads easily to implementation. For example, the Smithsonian Institutions National Air and Space Museum mounted an exhibi

24、tion in 1992 for the 500th anniversary of Columbus voyage to the Americas. The exhibition discussed what things humans had needed for exploration in the last 500 years and what humans will need for explo- ration in the next 500 years. The exhibit included a scenario of humans traveling to and living

25、 on Mars. The lighting design concept, derived from the script and members of the exhibition team, was that light diminishes as humans travel further from the sun. The lighting at the beginning of the exhibition was brighter than the latter part where there was a simu- lated Mars landscape. Light on

26、 Mars is one-fourth that of Earth. The concept worked well in preparing the visitor visually for viewing the stellarium, a fiber optic model of the universe within 50 light years of earth, that was presented in a very dark room toward the end of the exhibition. 3 STD=IESNA RP-30-ENGL 1b q704580 0004

27、b06 779 E ALL UMPS VNSP STD.IESNA RP-30-ENGL Lb Li70Li580 0004b 825 m $20 w i i ! -. .- , 4572 -1 2a-4.9 i i i i i i i i i i i i i i i i i nw-54 i gE3-40 I i i i i i i i i i i i i R2E4i3 i i i i i i i i i i i i i i i i i i i i i i =E342 azE3i8 _.-.- i i i i i i i i UE3-46 ! .W-) I i i i i i ;i 8 27-

28、43 i ;/+-H. FLIGHT IN THE ARTS WGW OF FANCE PHOTOS O? JACQm-HGNRI LAWIQUZ GAumY a11 APRIL m,1m LIGHT PLOT WITH CIRCUITS * = mEs INCLUDE DCIRAS !a43 = UGHTWER WK LEGEND I FI FCTRICAI NOTES II 1. ALL NEW RECEPTACLES, SWITCHES AND ELECTRICK EWIP. MUST BE UL Usm, OR EUiVW AND BE INSTWD IN MxxwuNcE W/ NF

29、PA 70, NAT“K UECTRIcAL CODE. 2. PROVIDE CREEN GROUND WIRE FOR ML NEW I“TAU“S. 3. NASM AV TO PROMDE AND INSTML ALL LIGHT mESs. 4. RMMP ALL EMERGENCY FIXTURES. 5. ROAUP ML FIXNRES INSIDE 6. WP REPUCEMENT IN LSI TROUCH MODELCASE. - GRAPHIC SCALE 1:w - la00 o lo00 2000 Au DIMENSIONS IN MILLIMETERS (MU:

30、2.1.6 Implementation. Once the artistic basics are understood and the concept is formulated, the lighting designer moves on to implementing the design. The designers obligation in the museum world is presenting a visually interesting and infor- mative exhibition while preserving artifact life as lon

31、g as possible. The process involves under- standing the exhibition layout, the appropriate appearance and limitations of the artifacts, and communicating the luminaire type and placement to others. Understanding the appropriate appearance and limitations of the artifacts means looking beyond the scr

32、ipt for the significance of a particular item and its inclusion in the exhibit. Discover and high- light the unique features of the artifact: for exam- ple, the acrylic bubble over the planes cockpit was a first for an aircraft; the unique surface tex- ture of an embroidered textile: the tool marks

33、of a handworked silver teapot. It is important to understand the location of graph- ic panels and artifacts in the exhibition so that the luminaires can be positioned appropriately. Light track should be located parallel to the vertical sur- faces. Luminaires for three-dimensional objects need to be

34、 positioned at specific angles to the object. (See Section 4.) Lighting designs must be communicated to other designers, museum management, technicians, and contractors. This communication can occur on many levels by using renderings, light plots, lumi- naire schedules, and focusing charts. Renderin

35、gs can be accomplished in many ways although the computer offers enormous possibilities. Infor- mation shared should include light plots, plans and elevations, luminaire placement diagrams, lamp type, and connections to the electrical source. The fixture schedule lists the type of instru- ment, symb

36、ol used, manufacturer, wattage, volt- age, lamp, and number of units required. (See Figure 2.2 and Figure 2.3.) 2.1.7 Fu/ Size Mock-ups. Full size mock-ups of parts of the design will help convince other team members that all the concepts work. Many individ- uals have difficulty envisioning what the

37、 light will do. Mockups can overcome this difficulty. When specifying new equipment for the first time, a mock-up is a prudent way to verify luminaire per- formance and appearance. Finally, mock-ups pro- vide the members of the team an opportunity to evaluate the lighting design in terms of its rela

38、tion- ship to the artifacts, color rendering, and mainte- nance. 2.1.8 Focusing the Luminaires (Fixtures). Per- haps the most rewarding part of the design is focusing and/or aiming the luminaires. This is the moment when all the planning and research become reality. Focusing involves verifying that

39、the appropriate luminaires and lamps are in the correct position and aimed properly at the desired point to fulfill the stated concept. The lighting designer should look at the end result from the viewpoint of the visitor, not from the top of the lad- der. The lighting designer should walk around th

40、e exhibit, looking from many different angles as focusing progresses. Usually all craft workers are finished when the lighting designer begins to focus. Electricians have installed the wiring, cabinet makers have built the display cases, and painters have begun to touch up the walls. It is fascinati

41、ng to watch peoples reactions as one luminaire after another is positioned. Sooner or later everyone senses the life in the exhibition. As the designer Robert Edmond Jones relates in his book The Dramatic Imagina tion: “Does this mean that we are to carry images of poetry and vision and high passion

42、 in our minds while we are shouting out orders to electricians on ladders in light-rehearsals?” “Yes. This is what it means.”o 6 STD-IESNA RP-30-ENGL L99b m 4709580 000qbLL 983 IESNA RP-30-96 LIGHTING FIXTURE SCHEDULE Figure 2.3. A comprehensive luminaire schedule can provide necessary communication

43、 between lighting designers, contractors, technicians, and museum management. 7 STDmIESNA RP-IO-ENGL L77b IESNA RP-30-96 2.2 Technical Design Guidelines The lighting designer must work closely with cura- tors, other designers, and conservators to safely exhibit museum and art gallery artifacts. The

44、life of an artifact can be significantly extended by care- fully planning the quantity and quality of light that strikes an artifact during a given time period. Even with careful planning, light will cause some deteri- oration in most artifacts. Therefore, the benefits of display must outweigh such

45、damage. luminaires and lamps necessary to meet the light- ing criteria. (See Section 11.0 for specific mathe- matical formulas.) 2.2.1 Light Source Spectrum. The spectral quali- ty of light from a lamp can be reviewed by study- ing the lamp lights Spectral Power Distribution (SPD) curve. This curve

46、shows the wavelengths where most of the light sources power is concen- trated. The SPD is plotted in nanometers of wave- length interval across the horizontal (“x” axis) and the power in watts per nanometer along the verti- cal (“y” axis). SPD curves should be reviewed to ascertain which wavelengths

47、 predominate the light source. Concentrations in the ultraviolet and the infrared parts of the spectrum can harm sensitive artifacts. (See Figure 2.4 and Figure 2.5.) The lighting designer must provide sufficient light for visitors to appreciate the artifact. Thus, calcula- tions must be made, eithe

48、r manually or with com- puter simulations, during the exhibition design process to determine the kinds and number of Figure 2.4. The Spectral Power Distribution (SPD) curves for an incandescent lamp (2856 K) and average daylight. All spectral colors are present in the incan- descent lamps SPD; how-

49、ever, compared to the SPD for average daylight, the incandescent lamps out- put is weaker in the blue and stronger in the red. (Courtesy of: Dr. William A. Thornton, Prime-Color, Inc., Cranford, NJ) Figure 2.5. The Spectral Power Distribution (SPD) curves for four different triband fluorescent lamps (3000 K, 3500 K, 4100 K, 5000 K) and average daylight. (Courtesy of: Dr. William A. Thornton, Prime-Color, Inc., Cranford, NJ) 8 Museum professionals are concerned with ultravio- let (UV) radiation because of the damage it