Abstract
Artificial lighting was first introduced into a national museum just over 100 years ago, and during the ensuing period there have been radical changes in its mode of application. Museums vary in style of architecture and in the nature and display of their exhibits so that the preparation of a standard code of lighting practice would be no easy task. Both the visiting public and museum authorities, however, have become “lighting-minded” and consequently lighting is now accepted as indispensable in modern display technique.
The paper states the objectives of museum and art gallery lighting and deals with the problems encountered in both new and old buildings. The need for close co-operation between architects and lighting engineers, particularly when lighting is embodied in the main decorative scheme, is stressed. References are made to examples of specific integrated lighting treatments which have resulted in the creation of a pleasing and refreshing environment far removed from the all too familiar mausoleum atmosphere. The demand for better visual conditions has led to an increased interest in local lighting, and general recommendations are given in respect of various types of showcases.
Paintings are a specialised subject of study involving accurate positioning of lighting equipment, avoidance of daylight shadows and consideration of colour and texture of walls. Provided that care is taken in their application, modern lamps and light controlling materials will be found of inestimable value in solving the various lighting problems encountered.
Get full access to this article
View all access options for this article.