Lighting Museum in Heritage Building - A Study of qualitative Analysis by Shlokathakore

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Declaration This work contains no material which has been accepted for the award of any other Degree or Diploma in any University or other institutions and to the best of my knowledge does not contain any material previously published or written by another person except where due reference has been made in the text. I consent to this copy of thesis, when in the library of CEPT Library, being available on loan and photocopying.

Student Name & Code No: Shloka Thakore, UI5315

Signature of student:

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Date: 08-05-2020

Acknowledgement This thesis becomes a reality with the kind support and help of many individuals. I would like to extend my sincere thanks to all of them. Foremost, I would like to offer this endeavor to God for the blessing, the strength, peace of my mind and good health in order to finish this research. I would like to express my deep and sincere gratitude to my research guide Mr. Nirmit Jhaveri for imparting the knowledge and expertise to this study by giving a new perspective to it and guiding me immensely throughout the thesis. I would like to thank KP sir for endless discussions whenever required and making a clear vision towards this field, Amal sir for guiding throughout these 5 years, and Krishna Ma’am for making the strong foundation of Interior designing and all the faculty members at Faculty of Design, CEPT University who had played a role in shaping me as a designer. Yatin sir for helping me out during the initial phase of my thesis. Thank you KD sir and Chandra maam for making this process smooth. Thank you to the entire 2015 batch for being there. This journey wouldn’t have been better without you guys. Also to the seniors and the juniors who have helped me during these five years. Last but not the least, I would like to extend thanks to my parents for believing in me and being there for me everyday. I would thank my sister Yugma for helping me whenever required and all my friends who encouraged and supported me during this journey.

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Abstract: Heritage building offers an immersive experience to museum visitors and like any well lit building it can narrate stories, communicate meaning and build a strong emotional response. Museums are not only documented history or showcasing objects, but also about adding immersive experience to history, which are being adopted by the new museums. Light plays a dual role in Museum spaces, i.e. by revealing the objects and by generating the ambiance. This study explores how quality lighting design can enhance spatial experience.

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Aim: The role of quality lighting in museum supports the museum experience through the celebration of historic built environment. This thesis investigates the application of Lighting techniques based on lighting designers ideology and environmental behaviour theories applied in a museum space, housed in a heritage building and its application with a holistic approach using lighting objectives.

Objectives: 1. Studying the nature of light in museums in heritage buildings. 2. Studying the quality lighting and aspects of its application. 3. Studying lighting opportunities in museums. 4. Studying general challenges and concerns for lighting in heritage building. 5. To analyze celebrated design and derive design consideration inferences for design application.

Significance of Study This study will help contributing emerging Interior designers to refer to the nature and techniques of Interior Lighting quality in museum space. It will put up the qualitative design and analysis of lighting a museum having historic background, serving a rational idea of systematic approach to identify the most efficient means to generate consistent optimum results for lighting Interior elements of Museum spaces.

Scope The study of lighting is focused on Museums in Heritage Building. It allows us to study qualitative aspects of light to enhance the space. This thesis will comprehend various Interior lighting elements and its approaches based on certain environmental psychologists, researchers and lighting designer’s theory. This thesis will talk about nature and objectives of interior lighting enhancing museum spaces and how tangible objects are perceived through an intangible source of light

Limitation The study is limited to Heritage Museums. This thesis is restricted to Interior Lighting. It is largely dependent on secondary sources of information and observation related to projects. Light source, mounting related observations are based on personal visual inspection through secondary sources.

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Perceptional Approach

Environmental psychologists Theory

Approaches

1. Visibility 2. Spatial 3. Atmosphere

MUSEUMS IN HERITAGE BUILDING QUALITATIVE ANALYSIS

MUSEUM Setting a context Spatial Narration

Emergence and opportunities of a Museum

Technical Concerns

Challenges and concerns

Practicality of Lighting

ELECTRIC LIGHTING

HERITAGE

Lighting Designer’s Ideology

Secondary Case Study

Case Study

1. Museum of Natural history, London 2. German ivory museum, Germany 3. Kunsthistorisches Museum, Vienna

Elements of Lighting

1. Bhau Daji Lad Museum, Mumbai 2. Albert Hall, Jaipur

Primary Case Study

Conclusion

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Introduction Light is an intangible source to perceive but enhances the tangible things to experience. It is the fourth dimension of architecture. It is the strongest tool of narrating the space to the audience. Lighting changes the mood of the space. Lighting can transform a space to a seamless combination of functionality and style. Light has always been considered as the most critical, significant and powerful tool for designs and architects and has always understood its importance as the principle medium. Perception of the space is directly associated with the way light integrates into the space. Lighting quality narrates the entire space and contributes in enhancing the character of the space. The lighting quality helps to create an ideal environment required for any space. It can mould the spaces just by using appropriate lighting solutions. Museums are an organized presentation of demonstrative objects reflecting the history of that place. Along with the object, space has its own significance. Lighting has a profound impact on heritage building and it becomes the most critical factors for narration of space. Light has the control to alter space and enrich its spatial perception. In addition to the task of presenting and conserving the art, many museums also offer state of the art knowledge transfer. The visitor’s journey started from the entrance and the presentation is not limited to exhibition space. In addition to illuminating the exhibits, a further perception oriented component becomes a part of good lighting design. Preserving heritage building into museums can open up a lot of opportunities for people to come and experience the space along with the displayed objects. Heritage building with proper lighting solution can add up a new life in the old building and also reflects the rich heritage of that era. Lighting can completely transform that space and compliments with the objects displayed in the museum by creating a strong context. One of the biggest challenges for lighting a museum is to face the sheer number of objects which must be lighted in a certain way according to its hierarchy or category. Each object of certain typology requires a different light pattern. Apart from lighting objects, Light has its significance in a holistic approach. An intelligently designed, striking lighting concept contributes in transforming an old heritage building into a museum. It’s not about making original work of art accessible to the public in the long run, but also suitably showcasing the architecture. The objects when

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housed in a heritage building can associate with the context and narrates the story of its own. Their objects have their own stories and characters to engage people. Lighting is the medium to see and appreciate the beauty of space and architecture. Vision is the most significant tool for appreciating the architecture. Lighting is perhaps one of the most critical aspects of Interior. It has the capacity to change the character of space without creating a physical boundary. Museums require a specialized light which controls environmental concerns as well lits the space, creating a narration. The intent of writing this research is to investigate the possibilities of lighting in interior elements in Museums with a holistic approach. Hence proper Lighting provides an enhanced experience to perceive the space and helps to narrate it to the audience. It creates an impact to the user and imprints the experience effectively. This thesis focuses on the application of lighting in museum space by the approach of various theories and analyzes the attribute of light using lighting design objectives. It seeks the possibilities of lighting and correlating perception of space with light. It aims on investigating tactics of lighting design for museums and narrates museum space by perceiving it in a holistic approach. Analyzing the relation between light, space and object helps to introduce better lights for the space. It evaluates the lighting techniques in historic Interior and discusses about its concerns and challenges.

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An Overview on Lighting in Museums of Heritage building .....................................................15 1.1 Nature of Museums in Heritage Building

1.1.1 Spatial Evolution of Museums...................................................16 1.1.2 Factors affecting the change of Lighting............................20 1.1.3 Emergence of use of Heritage building as museum itself....................................................................................24 1.1.4 Museums in Heritage Building today and tomorrow..........................................................................................28

Quality Lighting for museums hosted in Heritage building...........................................................................31 2.1 Environmental psychologists research 2.1.1 Enhancing character of heritage space.............................33 2.1.2 Enhancing the displays.................................................................41 2.1.3 Creating memories........................................................................46 2.1.4 Enhancing the spatial definitions.............................................48 2.2 Lighting design ideologies

2.2.1 2.2.2 2.2.3 2.2.4

Enhancing Enhancing Enhancing Enhancing

the the the the

Ambience...........................................................53 contrast...............................................................56 perceptual approach...................................57 object...................................................................61

Nature of Lighting Design......................................66 3.1 Lighting design objectives 3.1.1 Visibility..............................................................................67 3.1.2 Spaciousness....................................................................72 3.1.3 Atmosphere......................................................................76

3.2 Elements of illumination 3.2.1 Vertical illumination.....................................................79 3.2.2 Display units...................................................................82

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Technical concerns.........................................................85

4.1 4.2 4.3 4.4

Amalgamation of Light with Technology in Museum.............86 Challenges and concerns of Lighting a Museum....................89 Challenges and concerns of Lighting a heritage building..95 Guidelines for electricals in Heritage buildings.......................98

Case Studies......................................................................101 5.1 International Case

5.1.1 National museum of natural history, London........................102 5.1.2 German Ivory museum, Germany.............................................116 5.1.3 Kunsthistorisches Museum, Vienna............................................130

5.2 Indian Case

5.2.1 Bhau Daji lad Museum, Mumbai..............................................144 5.2.2 Albert Hall, Jaipur............................................................................164

Conclusion .......................................................................182

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An Overview on Lighting design in Museums 1.1 Nature of Museums in Heritage Building

1.1.1 Spatial Evolution of Museums ..............................................16 1.1.2 Factors affecting the change of Lighting.........................20 1.1.3 Emergence of use of Heritage building as museums itself .......................................................................24 1.1.4 Museums in Heritage Building today and tomorrow.......................................................................................28

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1.1 EVOLUTION OF LIGHTING IN MUSEUM JOURNEY FROM CANDLES TO LED

The Latin Word “Museum” originates from the ancient Greek word “mouseion”, meaning an institution dedicated to the Muses. it was an institute, home of music, poetry, philosophy and literature rather than a public collection of artworks. The first museum originated was Ennigaldi-Nanna’s museum in 530 BC. Initially they introduced museums as an immersive sense of multimedia platform, which can be held for public gathering. Reforms of the 18th and 19th century relationship and changing social framework were the incentives for the introduction of artificial lighting systems in museums and galleries. (Andrikopoulos, 2016). “Museums and galleries provided a means of practical education through the study of objects and that they should be developed for the education of the working people....If the museums and galleries were to be available to the working people they had to be open in the evenings” -Henry Cole

It was the major reason for emergence for the need of lighting. Late openings of museums allow the working people to visit that and would “furnish a powerful antidote to the palace” as Henry Cole puts in. Victoria and Albert museum in London was the first ever museum to put up an artificial lighting system for museums. It was designed by captain Fowke and was opened for public on 22nd June, 1857. The artificial lighting system includes 196 gas burners. 112 burners in the larger room while 84 burners in the smaller room. Fowke adjusted the proportion of space such that daylight would not create unwanted reflection or glare and the interior lighting system with gas burners were designed such that it creates daylight effect by positioning gas pipes under the skylight. With the invention of gas lighting, many museums started working post sunset. South Kensington Museum was the first museum to extend its working hours to exceed post sunset. That influences many museums in the UK to install a gas lighting system for extending working hours. After Kensington museum, many other museums installed gas lighting systems like the new Edinburgh Museum of science and Art (1854), Oxford University Museum (1860), The Walker Art Gallery (1877), the Birmingham city Art Gallery (1885) and the Grosvenor Gallery (1880).

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Overview of Lighting journey in Museums: Factors leading to evolution of Lighting

13th century__candles

Celebrate crafts

1780__Oil Lamp

FACTORS LEADING TO EVOLUTION OF LIGHTING

Time Efficient

1792 __Gas Lamp

Energy Efficient

Industrial Revolution

1880 Incandescent bulb

Independent operation

1903__Compact Florescent Lamp (CFL)

1993 Light emitting Diode (LED)

Mass Production

Energy Consumption & Commercialization

Fig 1.1.1 Factors leading to evolution of museum

Perhaps, lighting is the most critical force behind the cultural and socioeconomic factor of society. Technology started to continue its development from imagination to execution. We are in that era where the ability to generate lighting does not evolve independently form art and rather it evolves from science and technology. There are various factors which give a boost in inventing new lighting technologies. The Industrial Revolution is the major outbreak for lighting evolution in the19th century. As the demand increases for electric bulbs, mass production led to manufacturing more products, resulting in commercialization. The factor of energy efficient lights along with mass production led to a rise of LED lighting back in the 1990s. Within 20 years of span the technology boosted up from laser light to automated light. Mass customization and energy and time efficient technologies have adapted the market making it easily available to the public and helps in reducing carbon footprint along with conserving the environment, giving a seamless user experience. 17

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Lighting Approaches in a space with time 13th century: Candle Lighting candles were placed around the painting and on the table to enlighten artifacts and art pieces. The ambiance light was achieved by candle chandeliers, which contributed in highlighting the roof. 17th century: Oil Lamp Lighting These lamps allow brighter light compared to candles. It was cost effective but can be lighted for a limited time. It requires constant refill. it relatively gives low light input as well it produces smoke, damaging many art pieces.

18th century: Gas Lamp Lighting These lamps were brighter as well cost effective. It is produced by combustion of multiple gases and it can be used for a longer span without refill. It produces carbon monoxide (CPO) which can be dangerous to paintings as well humans.

19th century: Incandescent bulb Lighting The first form of electric lighting. Their bulbs were expensive enough to light the space. It has the major drawback of heat production. 20th century: Fluorescent Light There lights were energy efficient and produced less heat compared to incandescent bulbs. It had less life span. Their lights emit UV rays, which ends up damaging sensitive artworks and artifacts

20th century: Metal Halide There lights were 3.5 times energy efficient and produced less heat compared to incandescent bulbs. It had less life span. These lights are best in CRI and provide full spectrum. 21th century: LED Light These lights are energy efficient as well as have low power consumption. The life span is more than CFL lighting. The blue lighting hits the phosphors in LED and appears white light. LED does not have a good spectrum.

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Duration Energy Efficient Cost Effective

Fig 1.1.2 Candle Lighting

Fig 1.1.3 Oil Lamp Lighting

Fig 1.1.4 Gas Lamp Lighting

Fig 1.1.5 Incandescent bulb Lighting

Fig 1.1.6 Florescent / CFL Lighting

Fig 1.1.7 Metal halide lamp

Fig 1.1.8 LED Lighting

Factors leading to Evolution of Museum

Enclosed space with candles and lamps

Middle Ages prescientific and eccentric cabinet of curiosities were established to house collection of all kind

Small Items Ancient Greece

Cabinet of curiosity

Limited collection Exposed to daylight and lamps

16th century

Renaissance catalogue all International knowledge ang give collection systematic framework, putting an end to eclectic museums of Germans. French revolution _

17th century

social outlook began to change and a demand to open museum to a wider public emerged.

18th century

Modern Museums museums were built in capital cities of Europe. The building themselves alluded to the past. Classical pediments, roman pilasters,

Specified collection

19th century

SPATIAL EVOLUTION OF MUSEUMS

Classical pediments, roman pilasters, and vaults and cupolas inspired by 16th century architecture were prevalent.

20th century

Architecture Experience based Museum Based

new version for the museum and its use of space appeared. For eg: Guggenheim Museum NYC Based on the principle of an ascending helix, as if aspiring for verticality and growth, building breaks with conventional geometry.

21st century

Immersive approach

Contemporary Museums Immersive, Multisensory, Interactive space

Fig 1.1.9 Evolution of Lighting in Museum

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1.2

FACTORS AFFECTING THE CHANGE OF LIGHTING IN MUSEUMS

Fig 1.2.1 Daylighting in Musée du Congo, Tervuren, Belgium before artificial Lighting. The daylighting brings in natural lighting from the ceiling or windows and gives diffused and uniform light in entire space.

Daylighting Before development of technologies, the only source of light was the Daylighting back in 3000 BC. Ancient people came up with roof lighting and side lighting to bring in light. Egyptians first developed glass but it was not used to fill the opening at that time. Later in 1st Century BC in Imperial Rome, People came up with small glass panels used to cover the open side of the building to bring in the warmth of sunlight. Daylighting was one of the most significant elements in Museums in earlier times before the invention of candles and lamps. So, museums were designed such that it has a complete exposure to light by roof lighting or side lighting. Daylighting allows ample light which were not controllable as well it was not helping in creating focused light. It floods the space evenly with lighting which lacks in the narration of Museums.

Candle Light Candles were made out of wick rested in a liquid oil container. It has the tendency to spill and create black smoky flames. It was later made from tallow, natural fat and beehive wax back in Europe. Beehive wax made it expensive, so the middle class were using cheap tallow candles. Other alternatives for candles were oil lamps, made from natural oil from vegetables and animals. Candles require a constant watch as it can spill or fall which results into fire. As museums organized presentation of demonstrative objects, these lighting fixtures are dangerous to install. It has a weak light as well it flickers, giving a distraction to the experience of seeing an object in Museum.

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Gas Lighting Before Gas lighting, museums were open till evening. In order to bring in more people and allow the working class to visit museums, it has to function post evening. So, Museums started adopting Gas lighting. The National Museums of Scotland was the first one to light entire museums with gas lighting. There was a concern for gas lighting in Museums about heat and open flames and potential damage to the object on display. There were practical challenges as well like how to burn several burners in one go. How did the public respond to the changes of lighting in the museum, from daylight to gas lighting?

Fig 1.2.2 Gas lighting services in National Museum of Scotland Edin berg Gas lighting brings in artificial lighting from the system installed throughout and gives focused as well ambient light in the entire space.

Incandescent Lighting Electric Light was invented in 1802 but was used commercially after 1841. Not long after the implementation of gas lighting in Museums, electric lighting came in the frame. The South Kensington Museum was the first museum to install an Electric lamp in 1880 and so did the Museum of Practical Geology in 1881. The British Museum, which was against the use of gas light due to fire hazard and was the first public building to be lit electrically. Incandescent lighting provides a good rendering index. The CRI of halogen is 95 with 2700-5000K, making it highly efficient for lighting. Tungsten Halogen lamps are the refinement of incandescent light bulbs, with improved light quality. The low color temperature and high CRI value casts a warm light, providing excellent color rendering for objects. Incandescent light emits radiation and heat in much higher quantity and so infrared MR16 and IR filters are used to avoid that.

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CFL Lighting Compact Fluorescent Lighting was the compact version of fluorescent tubular lamp lighting that does not give focused light. These lightings are energy efficient and produce less heat. It is fluorescent blue in color which is covered by a white layer giving a milky look to it. It’s made from glass. It emits a bit of UV rays. Due to heating there were mishaps due to breaking of the tubes. Though it was producing less heat, the glass was not able to bear it. This light was having less light emission power which gives a brighter look on fixing multiple fixtures. One fixture was not enough to serve a larger area, so it requires multiple outlets.

Fig 1.2.3 Fluorescent Tubular Lamp lighting in Manjusha Museum Dharamshala The CFL lighting brings in the desired amount of light from ceilings or walls or display units and gives partially focused and partially uniform lighting.

Metal Halide Compact Fluorescent Lighting is 3.5 times energy efficient and produces less heat compared to incandescent bulbs. It has more pure light than popular HPS (High pressure sodium) lamps, close to daylight frequency. It’s more energy efficient then halogen lamps. It has a great illumination output and is good for lighting up the sculptures and coherent objects. It is quite expensive to produce, and the assembly is a bit complex. This material cost adds up to its costly production. It produces much more light and hence creates a light pollution then HPS or LPS streetlamps. The whites from a MH (metal halide) are closer to daylight and hence used in football matches as well as in interiors to light the space more brightly in a daylight frequency. Metal halides are best in CRI and provide a full spectrum. It is commonly used in outdoor lighting where good CRI is required, television lighting, sports field, car headlights, flood lights etc.

Fig 1.2.4 Metal halide lighting in Egyptian Museum.

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LED Lighting Light emission Diode was invented back in 1962 but after trials and errors it was finally launched in 1993. The LED was cost effective as well as light in weight. It allows to light the entire space and has the capacity to stay on for a longer time. LEDs have multiple diodes on it which are covered by white milky layer, allowing it to produce diffused light. It later took the form in different manners like track lights, spotlights, rope lights etc. This light has competitively longer span as well low maintenance. LEDs are an incredibly powerful piece of technology due to its energy efficiency. The only concern about LED is they can’t function in low Voltage as well in High Voltage. The lights make most paints change color. In earlier times, museums put UV filters over their inefficient incandescent bulbs. Bulb LED makes it easier. It doesn’t give off UV at all. The reason LED is efficient is due to UV. This light damages the paintings and it contributes nothing to the experience of painting’s adequately. The aim of any curator is to give a natural look to the object. However, combining blue light and yellow phosphor traditionally creates white light, making them better at lighting blue than reds in color spectrum but does reflect full color spectrum. LEDs with CRI (color rendering index) of >90 are best for museums and galleries. LED will provide high color rendering, a range and color temperature from 16004000K. Daylight and Incandescent lamps provide full color spectrum compared to LED.

Fig 1.2.5 LED lighting underground Roman Museum

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1.3

EMERGENCE OF USE OF HERITAGE BUILDING AS MUSEUMS

Old buildings offer an immersive experience of past culture and it flashes the interior space and curiosity of the glorious history of architecture in the past such as furniture, structural elements, fittings, materials etc. In order to save old and heritage buildings from decay and degradation of heritage value, it should be resumed with a new function as a museum. There are certain criteria to be taken into consideration for transforming old heritage building into museums such as Integrating history HUMAN COMFORT

Heritage Building

Adopting new function in same space

OBJECT PRESERVATION

Factors for considering historic building conservation

PRESERVING BUILDING FABRIC

Retaining original material and structure

Museum in Heritage Building

Fig 1.3.1 Criteria for conservating historic building

Integrating History: The most important criteria of reviving the building is by setting a museum in a heritage building is revitalizing the past. Understanding the importance of the building through studying the building’s history and analyzing authenticity makes it more commissioned towards museums. It also undertakes economic, political and social aspects of the period in which it was constructed. Retaining original structure and material: To transform a heritage building into a museum, presentation of material and the original structure should be concerned primarily as it is the core medium to revive and flourish the building history. Adapting new functions in the same space: Interpreting new functions and schemes of space will be the core concern. It involves an assimilation of contemporary sense and a comprehensive study such as a color theory, antiquarian and archaeological obsession. There are three levels which needs to consider when relating with museums authenticity such as edifices, encounters and artifacts. It appears themselves a place where visitors can discover, aquire knowledge and enhances their own culture, rather than spaces created in terminus in order to attract visitor’s attention.

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An old Building can be considered as a historic building that was built before a significant time period is termed as heritage building because of its high historical value (Equbay, 2017). But not all old buildings come under Heritage buildings. A Heritage building offers to know more about culture, people, lifestyle, identity, architecture, aesthetic value, enhance their own culture, and says much more about the past. There are multiple ways to restore and reuse old buildings. Buildings are reused in retails, hospitality spaces, restaurants, malls etc. The most rational use of these buildings will be Museums. Museums are owned by museum facilities for the people. Museums became an important tool to revive the history alive of heritage buildings. A museum is an interpretive medium which communicates, focusing on a big group of public with the intent to transfer evidence, ideas and information. Museums represent our cultural heritage. The building has a greater importance with a significant representative character. Converting the old building into museums adds itself to a newer complexity by enhancing the fact that what is inserted in the collection carries their own meanings and values. The original structure, which used to serve as a different function, is still present but has been modified in order to incorporate the new world within it, namely the collections and objects. Buildings prove to be more durable than their function. However, they carry qualities and images of the past. If such buildings manage to surpass the ‘time’, they should be considered as standing ‘out of the time’, as they bring up the notion of time more than anything else. Such buildings confront and use them as they are supposed to be used in present and appreciate or critic in relation to their newer function. but at the same time, it is appreciated for its existence, feeling the passage of time on it and enhancing the preserving images of the past. The inserted function of museums brings the building object into a different world, resulting in transforming the entire space, retaining the significant elements as it is. Some of the examples, dealing with such adaptation are as below.

Fig 1.3.2 Plazzo Grassi, Venice, 1985-86, by Gae Aulenti (i) Before Adaptation (ii) After turning into Museum By adopting the roof, it provides diffused and controlled lighting as well creates an ambiance for the space (i)

(ii)

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Fig 1.3.3 San Augustine Museum, Genoa, 1977-86 by Franco albini and Franca Heig (i) Before Adaptation (ii) After turning into Museum Keeping the existing function intact, and adopting newer style of interpreting the space by experimenting through lighting. (i)

(ii)

Fig 1.3.4 Architektur Museum, Frankfurt, 1984, by O.M. Ungers (i) Before Adaptation (ii) After turning into Museum Introducing a newer roof for addition of light and creating a space within space to create an interactive environment instead. (i)

(ii)

Fig 1.3.5 Castello Sforzesco Museum, Milan, 1954-56 by studio Architetti Adopting a newer lighting system and creating an experience of a modern museum in an old rustic building. (i)

(ii)

There are various other museums like National museum of modern art, Louvre in Paris or even Gardner Museum in Boston, Sir John museum in London, Anokhi museum, Jaipur. Their museums were the adaptation of earlier hosted functions. The relationship followed by objects with the building are Fig 1.3.1 (i) Between separating old and new part of the building (ii) Displayed objects in relation to their environment (iii) Relation among the exhibited objects. A correlation followed by building and objects (i)

(ii)

(iii)

Although these relationships are listed separately, they are interrelated. Relations established between the displayed objects in museum cannot completely be set apart from their interactions with various elements of surrounding environment.

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In Museums constructed in Heritage building, has two interactive form, one is architecture and other in interior, both carries its own meanings and values. The visitor receives that message and associates them with the image fixed in their memory and reads the message which architects want to convey. The historical sequence has been adapted in the arranging collection. Hence, Museums become a part of reviving history and to bring in new life to vacant buildings full of rich values. By the late 1990s, many established museums started to grow, often opting for further development in existing locations. Heritage Building comes under all shapes and sizes, from lighthouse to schools, post offices, hospitals, railway stations, banks etc. All of them can be somehow or other way be adapted as Museum spaces. Sometimes a particular building makes an obvious match to built museums because the collection and displays resemble directly to the original function of the building. However, in many cases it akso depends on the general other factors like usually availability of economy, social development, etc. There are certain advantages of heritage buildings reused as a Museum. • A building is recognised based on the heritage values and already has an acquired role in community. It could be a great oppertunity for a building that will inculcate community involvement. • Heritage buildings have certain character that can be useful to promote them to community. • Heritage buildings are generally well located in the center of the town, accessible to the entire city and can help in attracting visitors easily. • Heritage building can enrich the interpretation of historic collections by providing the historical context to the collection. • The ambience and spaciousness of some heritage buildings such as railway stations or power housed lead themselves to use as gallery spaces. There are certain disadvantages for using such places, likely • Risk of degrading the building’s identity by integrating newer function to it. • Building has a firm establishment in the community, resulting in non accepting the new use. it may take years to change people’s perception and expect to support the change. • There are certain criteria to reuse heritage buildings. It requires a permission to change or break any part of that building. There are other constraints likely access, circulation, which requires minute change to the building, which may not be accepted by the government. So such parameters can’t be tampered, • Building may be of poor structural condition and requires a lot of remedial work before opening it to the public. It should consider withstanding the increased traffic of visitor.

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1.4

MUSEUM EXPERIENCE AFFECTING THE LIGHTING: TODAY & TOMORROW

Technology enables ability to focus and shape lights and change colors. There are multiple ways to narrate the experience through amalgamation of technology with museum lighting. 3D projection mapping allows to tell story, multimedia (video animation), Virtual reality and Augmented reality also supports a strong narration via technology. Historically, lighting design freedom was restricted due to engineering limitations. Fortunately, inspired from Bauhaus and many other modernist peers, inspired 20th century innovations in incandescent, fluorescent bulbs and halogen which increases luminous outputs as well creates possibility for further scope in museums. However, lighting design has still issues associated with managing extreme heat production. It introduced to fluorescent lights and track lights integrated lighting with architectural construction, offering alternatives to earlier heating problem but still limited in terms of its functionality. This heating problems vandalize the artifacts and sensitive products in museums. Though the first iteration of LEDs were invented about half a century ago, the technology has come a long way since then. Lighting science advancement have led to future forwarded designs and even inclined towards an opportunity to completely reimagine the form, shape and material of lighting technology. LEDs have prospered many aspects of electronic illumination efficiency. It allows you to explore the possibilities of experiencing the museum. When LED technology was final introduced on a commercial scale, the new opportunities gave rise to a creative rebirth Re-imagining the number of classical products likely Floating glass pendant is now called ‘Float’ with LEDs. LED imitating Incandescent Filament lamp, pastel colors, Gobo Projection enables pattern and image projection. These products are majorly useful in reusing a heritage building and adapting it into a museum space, showing culture and social development of that region. Dimmers and Scene setting with inbuilt driver are used to create a dynamic context. Pushing the boundaries of innovation in order to achieve a perfect balance between art and technology is done by lighting designers. Even so, they are already onto the next big thing called ‘integration’. it is obvious that electronically generated illumination is a wave in the spectrum of energy and will be able to control, direct and manage the illumination as an integrated system and can deploy across multiple applications of the museum system. It has power to change the intensity, mood and quality of experience, which brings us to a smart controlled environment.

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“The lighting of the future will be defined by integration— be it within the architecture, as a component of a broader environmental management system, or as an emotional component that can be adjusted to impact the status of our well-being.” - Robert Sonneman The synthesis of LED with architecture is essential for perception of space and experience. By moving the imagination of architecture with lighting will lead to limitless possibilities of the digital age. Electronic illumination has the ability to manage curation rhythm, color tuning and alters mood and perception of people which potentially provides future scope of museums.

ARCHITECTURE

Rhythm Curation

Perception of space & Experience of space

Electric illumination Color

LED Mood

Hence, the cutting edge technology had changed the face of museums from being mundane displays to narration based displays, customized lights and curated experience. All factors were enhanced by thesis lighting technologies and had become used friendly. Their new application of technology allows more memorable glances as well involves people more into remembering the museums at most. For eg: German ivory museum, Germany, Where the space is dark while displays are lit by functional lighting and circulation by bright red light. The vision only covers display, circulation and experience.

Fig 1.4.1 German Ivory Museum, Germany A dark space, lit by functional lighting and emphasizing the circulation.

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Fig 1.4.2 Museum of Future, Dubai Light as way defining element Lighting acts as a space defining element as well a way finder.

Fig 1.4.3 5G Network Experience Museum, Seoul (i)Space control center: Visitors monitor the disaster area with real time Virtual Reality video (ii) Medical room: Visitors can simulate a remote surgery using haptic device that delivers tactile impressions through a network Immersive experience created by futuristic lighting.

Hence, technology amalgamating with light can create immersive experiences. There are other such technologies which contributes in enhancing the immersive experience in museum like embedded sensor, innovative way of interacting with objects, Li-Fi which can be used for the Internet through light etc. The scope of getting into the root of technology increases the chance to revamp mundane museum’s experience and can invite more and more people.

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Lighting as a spatial element in museums hosted in Heritage building

2.1 Nature of Lighting Design

2.1.1 Environmental psychologists research 2.1.1.1 Enhancing character of heritage space (John Flyn)..................................................................................33 2.1.1.2 Enhancing the displays (PAD emotional state theory)...........................................41 2.1.1.3 Creating memories (Peak-end-moment by danial kahneman theory)...46 2.1.1.4 Enhancing the wayfinding and spatial definitions (Coherence-Complexity)....................................................48

2.1.2 Lighting design ideologies

2.1.2.1 Enhancing the Ambiance (Lighting Tenets by Richard Kelly)..................................53 2.1.2.2 Enhancing the lightness in darkness (Lightness & Darkness by Rogier Van der Heide)....56 2.1.2.3 Enhancing the perceptual approach (Three stages of perception by William Lam)..........57 2.1.2.4 Enhancing the object (Stage Lighting by McCandless)....................................61

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Nature of Lighting Design Ergonomics and aesthetics become one of the integrated disciplines of Interior design. Compared to these, emphasis is given to people oriented design in present days, which emphasis on the psychology of people. Environment psychology is precisely becoming a tool of constant improvement in interior design. Its role in interiors has been emerging as a modern interior design theory. Museums consist of not only objects but also many other things that contribute likely the ambiance, the display units, the lighting, perceptions, spatial definitions etc. This chapter talks about the application of theories for enhancing different elements. The role of each theory perceived in the space and its approaches are studied and this chapter is further segregated in 2 parts. First part caters to Psychological environment based theories where the case of 4 researches had been analyzed and studied the approach of their theories on practical space. The second part caters to the lighting designer’s theory and how they contributed in the field of lighting design. The 4 theories were implied on the practical spaces and the light qualities have been studied in chapter 5.

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2.1.1.1 ENHANCING

CHARACTER OF HERITAGE

SPACE

ENVIRONMENTAL BEHAVIOR THEORY BY JOHN FLYNN

There are certain theories which help to enhance the character of Heritage spaces, likely “environmental lighting psychology” which immediately draws attention to the work of late John Flynn. “Lighting psychology” flashes the work of late John Flynn, whose research has been widely discussed and documented in the lighting community. He explored analytical techniques in order to understand the range of lighting impacts on humans and its emotional responses. He examined the human response of lighting by studying array of subjective impressions related to architectural setting, to determine which impressions were affected by changing lighting stimulus (Davis, 2013). Change in lighting produces significant change in response such as privacy, visual clarity, spaciousness, complexity, pleasantness etc. By correlating lighting and impressions, John Flynn demonstrated that human experience was enhanced by a significant role of architectural lighting. Along with human responses, Flynn also seeks to understand the nature of stimulus that produces the response by relating attributes to impressions. He identified 4 attributes to these impressions, which he labeled as lighting modes. Each of them expresses the continuity of changes in lighting between the two extremes. These modes express the basic parameter of lighting by creating a desired environment, likely bright-dim, uniform- non uniform, central-perimeter and warmcool. Flynn stated that “If you change the lighting stimulus along these dimensions, you will produce changes in human responses in terms of impressions that are reinforced”

Visual Clarity CentralPeripheral

Emotional Response

Bright-Dim

Warm-cool Uniform-non uniform

Spaciousness

Fig 2.1.1 Responses to lighting modes.

Looking into broader perspectives of environmental cognition and human response, it makes connections that helps to establish a framework for a holistic view of lighting impacts. Its visually impacts on task performance and underscores the absence of information on human responses to lighting.

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Historically, environmental cognition has a large part to deal with detailed and careful characterization of visual tasks under various lighting conditions, the stimulus and a variety of important methods for measuring visual performance as those conditions varied in terms of response (Davis,2013). Flynn attempted to associate lighting modes with human subjective responses. In order to emphasis a particular impression in space for designing lighting systems one should focus on certain aspects of lighting modes. For e.g.: reinforcing a feeling of relaxation by applying Uniform lighting on the perimeter of the room with warm tone light. Peripheral uniform lighting defines spaciousness. Many lighting practitioners have found associative cues between lighting modes and its subjective impressions which is useful in characterization of the stimulus and responses of lighting. The design guidance, concluded from John Flynn’s work, is quantitative in nature.

Central Lighting

Peripheral Lighting

Non Uniform Lighting

Uniform Lighting

Bright Lighting

Dim Lighting

Warm Lighting

Cool Lighting Fig 2.1.2 John Flynn’s theory of lighting modes

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Inference:

Fig 2.1.4 Hiroshima Museum by Danial Liberskind Application of John Flynn’s lighting modes in Hiroshima Museum.

A peripheral lighting, around the gallery/exhibition. Their peripheral lighting focuses on the paintings displayed on the walls. Rest of the space has non uniform lighting, focusing on the objects. The central spotlights were used to display the central display unit. Rest are ambient light. It has a warm and cool color palette. The overall space gives a scene of relaxation. A table below talks about the application of lighting modes based on different moods. Mood

Lighting Effect

Uniform/Non uniform

CentralPeripheral

Bright- Dim

Warm- Cool

TENSE

Intense direct Light from Above

Non-Uniform

Central

Dim

Cool

RELAXED

Lower overhead lighting

Uniform

Peripheral

Dim

Warm

WORK

Focused Light

Uniform

Central

Bright

Cool

SPACIOUSNESS

Highlighting ceiling

Uniform

Peripheral

Bright

Cool/warm

PRIVACY

Low light at activity space

Non uniform

Peripheral

Dim

Cool/Warm

Evenly Distributed light

Non uniform

Central

Bright

Cool/Warm

Highlighted Elements

Non uniform

Peripheral

Dim

Warm

HAPPY ELEGANT

Fig 2.1.3 Lighting mode application according to the mood

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2.1.1.2

ENHANCING CHARACTER OF HERITAGE SPACE Associating John Flynn’s theory with scenography

Scenography is inherently associated to theatrical performance, while in museums spaces, it is the focal point for attracting the public. Scenographic principles are the theoretical or philosophical understanding for achieving it. Overall literature on performance in exhibitions in museums is a very acceptable program, engaging visitors more than regular museums. The benefits of creating scenography in museums are to create the mood to dive in that era or place. It establishes the role of scenography in contributing to the beneficial impacts of space. Some of the principles to integrate museums space with scenography are 1. Context and setting Design is operating on the sociometric level, leads to create Scenograpgy which is used to establish the historical or geographical setting. When scenography governs on a sociometric level in museum design, it creates a setting to look at the visual clues to the wider context of an artifact.

Fig 2.1.5 Natural history museum, Paris Context setting creating a scenographic ambiance

The natural History museum has a caravan of animals, giving a visual movement of them walking. The lighting is such that it curates the experience from soft mellow morning light to clam sunset light, depicting the journey of these animals.

Fig 2.1.6 Natural history museum, Paris Caravan of animals in museum

The journey of a day is depicted by context lighting as well the atmospheric lighting. The narration helps visitors to recreate the scene of evolution in their memory.

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2. Atmospheric support Scenography in theatrical performance is when atmosphere supports components which are used to create an atmosphere that complements or visually conveys the mood of narrative. Increased number of visitors led to notable changes in approaches and styles of exhibition that are dedicated to the ambiance of the space. Object care and conservation issues in museums are often restricted to limit the level of sunlight and lower level of artificial lighting in museums. This restriction encourages exhibition and displays to explore and experiment different lighting techniques.

Fig 2.1.7 Narration through time of the day (i) Dusk (ii) Morning (iii) Evening (iv) Night Fig 2.1.7 Scenographic experience of context setting which changes from dusk to dawn in Natural history museum, Paris.

(i)

(ii)

(iii)

(iv)

To give an experience of being there in the evolution cycle was enhanced by the atmospheric lights, created on the surrounding wall of the caravan. The narration starts with thunderstorm & lighting, followed by morning mellows, oranges by evening and dark tone at night to reveal the day lifestyle of these animals. The central props were lighted when it has a relation with the surrounding scene. It helps by focusing on individual animals with a synced atmosphere.

3. Immersive Exhibition Museum operates on a functionalist and sociometric level. Immersive exhibition adopts many scenographic components to compel visitors to walk through that. The simulated environments of immersive exhibitions often depict a real place or time. (Lorenc et al,2007) but the aim of immersive exhibitions is not to put them in the misconception that they have entered a different place or time, rather to let them connect with the context setting and giving insight of how to perceive it. Immersive exhibitions is somehow a theatrical performance where a level of suspense, disbelief or concept of blending the limitations. Immersve exhibition is one way of achieving memorable experience by creating experiences in museums.

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Generating experiences involves activities in which visitors can directly participate, intensive sensory perception combining sight, sound and motion, environments in which visitors can immerse themselves rather than behave merely as spectators, and outof-the-ordinary stimuli and effects that make visitors experience unique and memorable -(Kotler & Kotler, 2004: 173)

Fig 2.1.8 The inviting entrance, surrounded by thematic lights governing towards caravan.

The entrance catches visitors to go in that caravan set and explore the evolution process. The entire surrounding is lit by thematic lights, and it narrates a certain type of story. Their lighting engages visitors to here and see the things displayed. The dynamic background lighting allows visitors to get submerged in the displays.

Perceptual Clarity Immersive Exhibition

CentralPeripheral

Emotional Response

Bright-Dim

Warm-cool Uniform-non uniform

Atmospheric support

Spaciousness Context Setting

Fig 2.1.9 Associating John Flynn’s lighting modes with scenography

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2.1.1.3

ENHANCING CHARACTER OF HERITAGE SPACE Associating John Flynn’s theory with perception

Perception is not just a passive recording of received and processed stimuli, it is a constantly directing activity in the brain, to help in reading the space. There is simply not enough time to respond to every new impression sent to the brain and reflect a conscious image, sometimes it unconsciously mechanizes the perception. Light is the easiest way to translate these perceptions in people. The obvious sections of classifying lighting, non-uniform lighting, warm lighting, cool lighting, bright lighting and dim lighting. These modes help to create a scene by sending stimuli and processes the outcome of the space.

Central - Peripheral The innate differentiation of visual stimuli creates functional differentiation between central and peripheral lighting. The central lighting scans the environment and gathers detail about the elements in the visual field which can be directed by focus. Central lighting gives a focus to the aimed object and brings the openness towards the environment. Peripheral vision collects the remaining environment and highlights the corners or boundaries of the space, making the environment bounded. It allows closeness and helps to fade out the environment gradually by lighting on boundaries.

Fig 2.1.10 Central-Peripheral (i) Kimbell art museum, USA (ii) Gallery of Hoki Museum, Japan

Uniform-Non Uniform Uniform lighting bathes horizontality in space and creating an organized layout. Uniform lighting gathers the undirected vision in space into a uniform and curated form by lighting, creating a dramatic effect to space. non uniform lighting makes the vision focus on individualism. By using less light, and creating an interesting visual effect as it avoids overlapping of beams of light in uniform lighting.

Fig 2.1.11 Uniform-Non uniform (i) Natural history museum, London (ii) MOMA, USA

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Warm - Cool Spaciousness is a subjective impression on space. Higher luminance on the horizontal plane and uniform peripheral lighting can reinforce the impression. Variance in judgment of spaciousness can be based on the amount of lighting in space (Kirschbaum & Tonello, 1997). Therefore it creates the relationship between spaciousness and light level. Space can be found to be spacious under 5000K. Change in color temperature does not affect the perception of spaciousness. (Aksugur, 2006). Hence spaciousness in the space can be achieved by using cool, saturated and light colors (Franz, 2006). And by using saturated, dark and warm colors, spaciousness can be decreased. So it is recommendable to use saturated dark colors and hues in large spaces.

Fig 2.1.12 Warm - Cool (i) V and A museum, London (ii) Kunsthistorisches Museum, Vienna

Bright- Dim The perception of brightness is influenced by contrast. Objects with the same luminous surface will be perceived as brighter or darker compared to the relative luminance of the context. The brightnesscontrast light works relatively, rather than absolute comparison. A Bright room can be considered a dim room with introducing a Luminous roof, while the dim room can be considered bright with introducing lesser intensity of light in that space. Assessment of relative brightness of objects which are not simultaneously visible involves the entire perception mechanism (Lam, 1967).

Fig 2.1.13 Bright- Dim (i) Orangerie museum, Paris (ii) Kunsthistorisches Museum, Vienna

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DISPLAY UNITS 2.1.2 ENHANCING E P T : P.A.D. E nvironmental

sychology

heory

motional

State Theory by John Russel

Fig 2.1.14 P.A.D. Emotional state model

PAD is an emotional state theory derived by John Russel and Mehrabian in understanding human emotional development and response. His primary emotional responses to the environment determine the behavioral responses. According to this theory, human senses process the environment and characteristic to produce primary emotional responses in three areas namely_ “Pleasure, Arousal and Dominance” Dominance depends on how much control one feels over the environment. Dominance or control connects to automatic or manual lighting systems. Manual control allows energy saving by manual operation while automated controls have many negative reactions. It can be further weaved by Kaplan’s “desire for involvement” to derive general principles about human reaction to the environment. Russel settled two primary ways to respond to the environment i.e. pleasure and arousal. When one enters an environment, one directs the space into one of the 4 quadrants, which are defined by two axes of arousal and pleasure. Russel intimation relates directly to the architectural environment, later exploring that all types of stimuli can be experienced by human emotional response. So, it seems that emotional responses are essential to human condition. His argument “our emotional response to a stimulus along the two dimensions of pleasure and arousal is a single, integrated response rather than two distinct responses.” The word used to describe space reflects this sort of integrated response (Davis, 2013)

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Arousal +Ve

SIMULATING

Pleasure

TENSE -Ve

(+Ve)

RELAXING

DREARY

Fig 2.1.15 Diagram responding emotions in space with pleasure vs arousal

-Ve

Simulating

Arousal

Pleasure

Tense

Arousal

Pleasure

Relaxing

Arousal

Pleasure

Dreary

Arousal

Pleasure

The environment having “stimulation” is having both the qualities of arousal and pleasant, while tense is arousing by bit of pleasure. Relaxing has low arousal but relatively highly pleasures, while dreary is low on arousal but highly pleasures.

Three Dimensions of Emotion P Found in Environment

A Environment Provides

D Experiencing the Environment

What you find?

What you get?

How you feel?

PLEASURE

AROUSAL

DOMINANCE

Two or three dimensional structure has organized the Knowledge of emotion into (1) positive or negative activity (2) arousal and potency or (3) dominance. Russell (1980) created the two orthogonal axes of the circumflex of affections to represent the dimensions of “pleasantness.”

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Fig 2.1.16 Connecting map of three dimension of emotion with pleasure, arousal and dominance.

(horizontal) and “activation” (vertical), to investigate one’s personality. Mehrabian (1996) proposed the three dimensions of the PAD (pleasure, arousal, dominance) model by referring to one’s emotional responses to stimuli in environments, to illustrate that when one enters an environment, their three emotions, pleasure, arousal and dominance, are induced. Their semantic differential studies have shown that human judgments on diverse samples of stimuli can be characterized in terms of these three dimensions (Mehrabian & Russell, 1974). The three dimensions of emotion are briefly stated as follows.

Fig 2.1.17 Examples of Pleasure, Arousal and Dominance affecting the mood.

EXUBERANT

Pleasure (+Ve)

Arousal (+Ve)

Dominance (+Ve)

RELAXED

Pleasure (+Ve)

Arousal (-Ve)

Dominance (+Ve)

HOSTILE

Pleasure (-Ve)

Arousal (+Ve)

Dominance (+Ve)

DEPENDENT

Pleasure (+Ve)

Arousal (+Ve)

Dominance (+Ve)

ANXIOUS

Pleasure (-Ve)

Arousal (+Ve)

Dominance (-Ve)

DOCILE

Pleasure (+Ve)

Arousal (-Ve)

Dominance (-Ve)

DISDAINFUL

Pleasure (-Ve)

Arousal (-Ve)

Dominance (+Ve)

BORED

Pleasure (-Ve)

Arousal (-Ve)

Dominance (-Ve)

Mood changes due to emotional experiences (Morris,89). Emotion can change or intensify mood. Emotions change the current mood by pulling the phase while it intensifies current mood by pushing the phase. The displays in museums portray some emotions based on the subject, So in order to show a feeling of anger in a memorial museum, The arousal and dominance value will be more compared to pleasure. PLEASURE: The climax scene plays a role of pleasure in museums. The easy, smooth and calm lighting brings in the feeling of pleasure in visitors, reminding of the happy times and enhancing the journey happily. AROUSAL : The peak point which is called the “turning point” or “surprise point” brings in the arousal in visitors. The linear expectation being converted into a peak brings in the positive vibe in visitors. DOMINANCE : The experience shaped in the end, controlled by various factors brings in a certain dominance in visitors. It helps to bring in driving factor of the space which rests in the memory of people

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Relevance of P.A.D in Displays of museums Arousal (+Ve) Pleasure (+Ve)

Pleasure (-Ve)

Affective point: Thoughts

Dominance (+Ve)

Dominance (-Ve)

Fig 2.1.18 Three dimensional model of pleasure, arousal and dominance as tripartite view of experience

Arousal (-Ve)

The idea of Mehrabian and Russell about pleasure, arousal and dominance is connected to the psychological derivation and the peculiarity between feeling, thinking and acting are used since ages to describe environmental experience. Although different understanding of pleasure, arousal and dominance can be found in literature, the original meaning developed by Mehrabian and Russell in 1974 is still legible. In future research pleasure and arousal have to be conceived as cognitive concepts and reflectively affective while dominance as a co-native concept. Many researchers have reflected the significance to control the feeling related to behavior regarding Dominance. (Bakker,2014)

Fig 2.1.19 German Ivory Museum, Germany The darkened interior emphasis directly on the display unit, followed by circulation. This hierarchy helps to achieve pleasure & arousal and embraces the visitors towards them.

The German Ivory museum has these specially designed lights, where the highlighted ivory piece, lighted by integrated light gives pleasure, the mysterious and catchy environment gives a sense of arousal while the frosting controls the vision to the artifact, giving it a certain level of dominance. This theory helps to put up a perfect lighting to display based on the typology of the museum. Anthropology has dependent lighting while the memorial museum has hostile lighting.

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Fig 2.1.20 Pleasure, highlighted in German Ivory Museum The circulation

The darken interior, with a red circulation way, works as a way finder. This circulation allows a curated journey in museums, bringing a sense of excitement in visitors. It increases the pleasure value, bringing visitors to the climax point.

Fig 2.1.21 Arousal, highlighted in German Ivory Museum The display unit

The display unit becomes the center of attraction. It allows to create a pause point around the museum, bringing in the value of arousal in narration.

Fig 2.1.22 Dominance, highlighted in German Ivory Museum The frosting on display unit

The frosted layer in the display unit controls the vision of visitors to focus and locate on the object directly. It brings in a dominance to emphasis on that artifact.

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MEMORIES 2.1.3 CREATING E B T :P nvironmental

ehavior

heory

eak

End Theory by

Danial Kahneman Noble prize winner economist and psychologist “Danial Kahneman” and his colleagues have stated that what we remember from our experience is most powerfully influenced by two things: 1. How the experience felt when they were at their emotional peak (best or worst) 2, How they felt when they ended. (Sontag, 2018) “Memory was not designed to measure ongoing happiness or total suffering. For survival, you don’t need to put a lot of weight on the duration of experience. It is how bad they are and weather they end well, that is really the information you need as an organism” -Kahneman The peak-end theory is a psychological rule which makes recollections of events which has impacted the experience through the 2 moments. i.e. peak moment (most intense moment) which imprints in the memory and the ending moment which rationalizes the entire journey. This interpretation helps to create an impactful journey of experience. (Doll,2019) Kahneman discovered 2 selves: The experiencing self and the narrating self. • The experiencing self: It’s a moment to moment consciousness the ability to be present. it is the fast, unconscious and intuitive mode of thinking and experiencing. Self experience has the lowest memory power. It has no narration and it seldom consulted when it comes to making big decisions. • The narrating self: It’s a moment which weaves our experience into a coherent story. The narration curates and goes over our experience. The self narration takes the input from our experience and creates memory.

Fig 2.1.23 (i) Ayala Museum, Philippines (ii) German Ivory Museum, Germany 1. The experiencing self: An organized display, giving self explanation of each artifact. 2. The narrating self: The curated display, narrating and binding the experience with context.

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ELEVATION Elevates the moments of happiness through sensory pleasure and surprise

PRIDE Moment that captures the best of experience, weather be moments of achievement or courage

INSIGHT Eureka moment, by changing understanding of experience giving a sobering clarity.

“Each moment of the experiencing self lasts about 3 seconds, but most of these ‘units’ of experience vanishing under the relentless eraser our narrating selves.” - Kahneman What gets remembered are the change in story, significant moments in story and the end moment. The length of experience doesn’t matter in self narration. He labeled it as “duration neglect”. As it turned out, long experience left us with little impact on the memory. Kahneman and Fredricson named this discovers as “duration neglect” Duration neglect is the judgment of psychological recognition that people’s unpleasantness experiences barely depend on the duration of those experiences (Kahneman & Fredrickson 1993). Peak end moment requires one of the 4 elements below. It can be enhanced more with the use of all 4. ELEVATION: The moment which elevates the entire journey with surprises and helps in enhancing its value. It allows the pleasure to get emphasized by sensory experience in space. PRIDE: The moment which captures the entire attention in entire journey to achieve arousal value.

CONNECTION Socializing moment in nature

INSIGHT: The experience shaped in the end, controlled by various factors brings in a certain dominance in visitors. It helps to bring in driving factor of the space which rests in the memory of people. CONNECTION: The engaging activity in space, which binds visitors together and involves them in participating towards the space. It associates the stimulus and helps to link all together.

Psychology behind peak end moment Cognitive bias changes the way of remembering the experience. Brains can’t remember every phased experience. In order to prioritize the memory, the mind tends to create highlights. Peak-end effect is a cognition which the brain uses by focusing the memory on the most intense aspect of experience and what the ending experience is, to rationalize the experience. The psychology of peak end moment is based on cognition. The peak-end rule suggests that our memories are not a comprehensive picture of experience, instead to compensate, our tendency is to recall the peak experience or highlights of the journey, as well as the endings of the journey.

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Satisfaction

The most remembered experience features negative and positive impact. Establishing memories of negative experience helps to avoid similar situations in future while positive experience can help to seek out these situations again. The peak-end rule allows up to maximize the utilization of the brainpower and conserve cognition energy. The small improvement in the near end of the experience can profoundly shift one’s perception of the event.

Peak

End

Peak

End Fig 2.1.24 Graph showing the experience can be shaped by peak & end moment. 1. Focus light: One which provides focused or target/task light 2. Ambient Light: Diffused light which enlightens the entire space 3. Brilliant Light: The decorative or point light which seeks up attention of people.

Time

Uniform Experience

Peak Experience with low end

Peak Experience with low end experience experience

Peak-End Experience Peak-End Experience

The graph above shows the comparative journey of a space in 3 cases mentioned above. These theory helps to remember the space for a longer time and to implant a good impression in people’s mind when they leave the space. Interior is a series of events in time. There series if have uniform quality cannot be resembled later, while a strong peak moment and the end moment helps to imprint the journey for much longer time. It can be used in any of the interior space, where people come to visit and expect a good impression to be remembered. Hence this theory helps interior designers to create a resembling memorable impression in people’s mind. The most exciting thing about the lens of peak end rule is that it is everywhere, just most of the time we are not conscious of how much your experience is shaped by the peak and ending. “Our comforting conviction that the world makes sense, rests on a secure foundation, our almost unlimited ability to ignore our ignorance.” -Kahneman

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THE SPATIAL DEFINITION 2.1.4 ENHANCING E B T :F -U nvironmental

ehavior

heory

amiliarity

nfamiliarity

Coherence and Complexity Theory By Kaplan Lawrence Kaplan and Kaplan theory consist of an environmental stimulus with a wide range of human response. The work of Kaplan and Kaplan provides significant insights of lighting practice in the field of environmental cognition. According to Kaplan, finding a cognitive match based on prior match of environment in our memory is a primary goal, when a human is exposed to a newer environment, as a way of helping to interpret and understand the new environment. Often when one enters a new environment, it has many similarities to previously experienced spaces. This degree of familiarity allows a pleasant, comfortable reaction. Other times the unusual space poses an entirely new experience. The experience of something new will somehow show the uniqueness and unfamiliarity stimulates the excitement. The factors which suppliants the drive to make sense of the environment, is desiring for involvement with the environment. Interesting environment makes people invite themselves to engage and explore, bringing a scene of mystery and complexity. The purpose of involvement makes the novel environment exciting rather than weird or overwhelming, and it also makes some very familiar environments uninteresting. Kaplan and Kaplan suggest two key words to capture the spirit of these environmental features that governs our preference: Coherence and Complexity. Kaplan and Kaplan were environmental psychologists who focused on the outdoor environment in their research, recognized the connection between lighting effects and coherence. Brightness makes a space more pleasant by showing prominence behavior on increasing coherence in environment. Conversely, change in brightness that is not related to visual scene creates a lack of coherence, makes it more challenging to make sense of the space, and thereby reduces a person’s preference for the space (Davis, 2013). Coherence is critical, but the space which is complex, where coherent fails to provide the desired simulation and involvement. Complexity in the environment relates to natural desire to engage and to provide active participation with the environment. Apparently, the desire of a certain level of complexity holds true for a range of stimuli in the architectural environment (Davis, 2013). The desire for a coherent environment can be easily interpreted and at the same time complexity in environment can be easily used to keep people interested.

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High Preference ACCEPTING Response

High Familiarity

INTERESTING Response

Low Familiarity

BORING WIERD Response Response

Low Preference

Fig 2.1.25 Comparison graph of familiarity-unfamiliarity vs high-low preference.

High Familiarity comes under the option of how well visitors conceived the space. Familiarity factor is associated somewhere with preconceived notions. As this notion decreases, the response goes from accepting to interesting. Familiarity crosses the line from low preference to high preference. Visitors prefer something new, but on the other side something new without any familiarity brings them back to a weird response. High preference which low familiarly allows visitors to explore the space and to encounter many more surprise elements giving them an interesting and involving experience.

(i)

(ii)

(iii)

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(iv)

Fig 2.1.26 (i) Orangerie Museum, Paris (ii) Louvre, Abu Dhabi (iii) Museo de Nerja museum, Spain (iv) Maharaja Fateh singh museum, India 1. High Preference & High Familiarity, brings in an interesting curation 2. High preference & low familiarity, brings in an accepting curation 3. Low preference & High Familiarity brings a weird curation. 4. Low preference and low priority brings in boring curation

COHERENCE Immediate

Curated Experience

Inferred

COMPLEXITY Involving Experience Fig 2.1.27 Comparison graph of simple & complex environment

Fig 2.1.28 (i) Theory of Coherence in Museum (ii) Theory of Complexity in Museum

The Museum of Cathedral has a curated experience showcasing the artifacts in a linear fashion. It represents a consistency in the displayed projects, making it a curated way for visitors. Guggenheim Museum, USA, by Frank Lloyd Wright has an involved experience in circulation. The ramp runs from top to bottom, wrapping the entire interior building, and involves the visitors in circulation. it creates an intricacy in visitors and makes a memorable experience for them.

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2.2 Lighting Designers Theory As discussed in earlier chapter about application of various environmental theories in space, this chapter talks about the application of the theories of lighting designers to this field. The light quality to create an ambience, to enhance the perception, role of darkness in a musuem and object lighting is being discussed. This theories helps to evolve the musuem experience.

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ENHANCING THE AMBIENCE

KELLY 2.2.1 RICHARD Theory of 3 tenets of lighting

The three tenets of Richard Kelly became the core theoretical statement in lighting design. The three aspects are 1. Focal Glow 2. Ambient Luminescence 3. Play of Brilliants His articulated form of lighting concept was formally presented in lectures, books, articles etc. Richard Kelly studied the light’s ability to shape space and create a sense of visual awareness, which could evoke human emotions (Donoff,2016). Kelly’s approach to lighting design is centered with these 3 principles. Likely creating sharp detail, washing surfaces or by highlighting objects. He used the term “play of brilliance”, “ambient luminance” & “Focal Glow” to translate these idea. These 3 techniques are always visible in his work, although the distribution may very in terms of elements, likely one is more pronounced then other. He was a strong support of daylighting and believed that natural light should play a role of primary lighting which defines the space while electric lighting plays a role of supplementary lighting. This layered approach to lighting created solutions that creates balance between interior and exterior lighting. The 3 principles of Richard Kelly are... 01. Focal Glow: A task lighting, helping to convey the information. The brightly lit areas inevitably draw the attention of visitors. Areas containing vital information can be emphasized by eccentric lighting, whereas subsidiary information can be toned down by applying low lighting. This caters a fast and accurate flow of information where the visual environment is easily recognizable in terms of significance of objects and significance of structure. Hence, this lighting helps in highlighting the most valuable artifact or painting in the collection. According to Richard Kelly... “Focal glow is the following spot on the modern stage. It is the pool of light at your favorite reading chair. It is the shaft of sunshine that warms the end of the valley. It is candlelight on the face, and a flashlight on a stair... Focal glow draws attention, pulls together diverse parts, sells merchandise, separates the important from the unimportant, helps people see.” 53

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02. Ambiance Luminescence: An element of light, providing general illumination of the surrounding, ensuring the visibility of people surrounding it as well objects. This type of lighting is generally activity oriented. It’s uniform and holistic lighting allows ambiance illumination which helps to provide a basic lighting in circulation. Ambient Luminescence does not have a focus. It’s the blanket of light used for illuminating the space. The details are dissolved and the comfortable lighting gives visitors a relaxation mood. According to Richard Kelly... “Ambient luminescence is the uninterrupted light of a snowy morning in the open country. It is fog light at sea in a small boat, it is twilight haze on a wide river where shore and water and sky are indistinguishable. It is in any art gallery with striplighted walls, translucent ceiling, and white floor. (...) Ambient light produces shadow-less illumination. It minimizes form and bulk.” 03. Play of brilliants: Light not only draws visitor’s attention but also represent information. Point light sources can produce reflective or refractive materials. The light source itself can be also considered to be brilliant. Play of brilliance can bring in extra essence to ambiance. The traditionally produced light by chandeliers and candles can be achieved by modern lighting by targeted use of light sculptures or by creating effects on illuminating materials. Play of brilliance is the decoration. It’s the addition to the architectural environment. According to Richard Kelly... “Play of brilliants is Times Square at night. It is the eighteenthcentury ballroom of crystal chandeliers and many candle flames. It is sunlight on a fountain or a rippling brook. It is a cache of diamonds in an opened cave. It is the rose window of Chartres... Play of brilliants excites the optic nerves, and in turn stimulates the body and spirit, quickens the appetite and awakens curiosity.

3. 1. Focal Glow 2. Ambient Luminance 3. Play of Brilliance

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Fig 2.2.1 Kimbell Art Museum by Louis Kahn and Richard Kelly. 1. Focus light: One which provides focused or target/task light 2. Ambient Light: Diffused light which enlightens the entire space 3. Brilliant Light: The decorative or point light which seeks the attention of people.

Richard came up with this theory of Ambient, focal and brilliant light. According to him, Focal light is “The campfire of all time, the glowing members around which stories are told” A welcoming gleam of the open door” “Directive, creates a brighter center: tells us what to look at, organizes, marks the important element” Ambient light is “A snowy morning in open country” “Twilight haze in a mountain top or cloudy day on the ocean” “The light in a white tent at noon” Brilliant light is “A play of brilliants” “The sensation of a cache of diamonds in an opened cave” “A ballroom of crystal chandeliers” Richard Kelly had come up with this theory, and he had applied that in designing many iconic buildings like Kimbell Art Museum, Yale University Library, Seagram Building, Glass house etc.

Fig 2.2.2 Kimbel Art Museum by Loui Kahn and Richard Kelly. 1. Focas light: On slit by track lights 2. Ambient Light: Diffuse light through ceiling, illuminating the roof as well space. 3. Brilliant Light: The slit, slicing the cycloid vault in two halves.

Above is the Kimbell Art Museum, designed by Richard Kelly with collaboration of Louis Kahn in 1972. Natural light is transmitted in through a slit, slicing the cycloid vault in two symmetrical halves. The central opening is covered by an aluminum bracket, which diffuses the sunlight as well as works to hold the electric system. The central slit, aluminum bracket and electric lights combine to form a complete light source for displaying works in the Kimbell art museum.

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ENHANCING THE LIGHTNESS IN DARKNESS 2.2.2 ROGIER VAN DER HEIDE Theory of darkness and lightness Day is divided into two parts, dark and light. Daylight provides energy and gives access to the task. The human body is structured and adapted to function in certain ways during different periods of day, i.e. light & dark. It has long been in practice to illuminate work places from corner to corner, with high uniformity and same color light according to the standards. On analyzing that detail, the standards are only to read where the illumination is prescribed for each application type. Different areas with single space will require different illumination levels, contrast and glare are often overlooked. Over-illumination is the result of understanding or ignorance of requirements. Albert Einstein once said... Imagination is more important than knowledge for knowledge is limited to all we now know and understand while imagination embraces the entire world and all there ever will be to know and understand Both darkness and light are necessary for us to engage with the experience. The only presence of light will result in boredom. The only presence of darkness will not allow us to experience anything. The contrast of light and shadows which creates beauty and mystery. It is an interplay of light and darkness. Van der Heide once quoted for why light needs a darkness... Light creates ambiance and the feel of a place as well as the expression of the structure

Cross vault ceiling with bespoke lighting in Rijks museum The highlighting or focus elements are the artifacts, while the ambient light has dark corners, giving emphasis on the objects. This installation gives a subtle presence in the space and highlights the vaulted ceiling Fig 2.2.3 Rogier van der Heide’s installation at the Rijksmuseum in Amsterdam, the Netherlands

“The lighting unit is not obstructive; it is invisible in the space”, says Rogier Van Der Heide. On the museum’s masterpiece, there is complex color and is composed of many other pigments. Using halogen light would be difficult to render earthy tone, but LED units allow high definition full spectrum, giving the objects depth and enhancing the texture of the paint.

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THE PERCEPTION 2.2.3 ENHANCING T P O V P B W he rocess

isual erception

illiam Lam

Context oriented lighting Environment around us changes constantly. These changes are physical as well perceptual, where expectation, recognition and interpretation are used to perceive the environment. Its perception shapes the experience in space, then lighting significantly contributes in shaping the perception. Visual perception occurs externally where eyes pick up reflections from services and transmit that information further to the brain. This process is attached by the phase of expectation, where past experience from the memory contributes to perception. According to William lam, there are 3 stages of perception. 1. The attributive stage: This stage adds up meaning to what we observe, which occurs directly after the brain receives visual information. This helps in interpreting objects and environment and validates the observation. The process of attributive classification of incoming stimuli does not depend solely on the characteristic and pattern of the individual stimulus. All elements of the visual field are simultaneously evaluated as context, and the context plays an important role in attribution. Attributive classification involves the simplification of incoming data, by classifying it according to the highest recognizable level of order which can be found in the experience filter. (Lam, 1977) 2. The expectation stage: This stage interprets the visual information to rationalize or recognize the pattern or previous associates. For e.g: If the organizational layout of the museum is recognized, we can predict the area that haven’t been explored In visual perception, the incoming data have been sorted and classified the second component of the process_ expectation comes to play. Expectations are not only an output of the process of perception, but they also influence the subsequent selection of sensory inputs by redirecting attention, controlling eye movement and scanning patterns. Expectation allows us to create extensions of the visible world in our mind. (Lam,1977) 3. The affective stage: This stage predicts the outcome and behavior of the perceived visual information. Referring to past encounters to judge how the recognized information will affect us emotionally and experientially.

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It concerned how each stimulus affects our emotional or evaluative response to stimuli. When the environment appears and behaves as expected, i.e. when the luminance level, gradients, patterns, and colors in the visual field are relevant to needs. (Lam, 1977). All three aspects of perception_ the attributive, the expectation and the affirmative are inextricably interwoven in real life. The affirmative stage connects links to prior experience, activating expectations and provoking emotional responses. Expectations turn into influence choosing the next object of sensory attention and can trigger emotion from joy to fear to apathy depending on the nature of anticipated development. The affective quality of perception determines the importance given to it and converting into influence. William Lam has also further derived lighting according to 4 basic context oriented lighting. He had mentioned about qualitatively oriented lighting design for describing the requirements for lighting systems. William lam distinguished it into 4 main categories. The “activity needs” focuses on the functional and task lighting, the “biological needs” focuses on the evaluation of situation emotionally, the “orientation” focuses on relation of discernible destination or spatial location, the “discernibility” focuses on ordered environment and a point of interest, the “communication” focuses on the balance between the need to communication and requirement for privacy. 1. Activity needs: Creating an appropriate hierarchy of focus on activities, and creating an order and relevance of the environment, instead of adding distracting patterns of light and adding visual noise in the space can be defined as an activity based lighting. Spaces with varying activities should not create dominance in one space rather provide an appropriate background which allows user to choose their focus of interest without distraction. The appropriate defined visual focus laminates the environment and simplifies the task and saves enormous amount of energy used to provide unnecessary layers of illumination.

Activity based lighting on each artpiece displayed. Fig 2.2.4 Kimbel Art museum by Richard Kelly

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2. Biological needs: Changes in perception triggers warning signals to the brain, demanding attention. The more attention is paid consciously and subconsciously to biological important factors that alters the sensory data. Human perception of information seeking processes involves many mechanisms of eyes and brain, some in conscious form and some unconsciously. Directing voluntary attention to the elements of the visual environment which provides information that needs to perform conscious activities.

Fig 2.2.5 Hintze Hall, natural history museum, London Biological needs lighting, stimulating the senses through light.

3. Orientation: Sensory monitors provide necessary information for protecting oneself and making aware of the location, movement and state of the space can be defined at orientation. Orientation also concerns information on the aspects of surroundings such as time of day, weather etc. This information is visually unavailable in closed space where the incoming sensory data are sufficiently ambiguous which makes us one uneasy. Orientation can be achievable by horizontality in space, which gives a spatial direction and horizontal clues make the space more familiar and accepting.

Fig 2.2.6 National museum of African and American history and culture Orientation through horizontality as well as inside outside relationship.

4. Discernibility: The decision factor of feeling of security within a visual environment and giving a sense of volume and space can be defined as discernibility. The definite expectation rises for structural elements like walls, floors and beams should look like when rendered in light. The need for a clearly structured and ordered environment makes the surrounding simplify and easily translates the scene visually.

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The perceived situation shapes a positive approach not only with form and structure of the surrounding architecture, but also with the essential area clearly portrayed from their background. Hence it emphasis on the points of visual interest.

Fig 2.2.7 Vatican Museum Discernibility through the lighted roof, highlighting the paintings of Michelangelo.

5. Communication The balance between the need of connection and requirement for private sphere can be defined as communication. The space facilitating the contact with other people should also consider the factor of privacy. Such a private area can be defined by a patch of lights that pick out a group of seats or a conference table from the overall large space. This lighting is generally not used fro museum spaces. Hence these lighting i.e. Activity needs, biological needs, Orientation and discernibility are achievable by certain criteria’s which are mentioned below in the table. Type

Visual information required

Desirable Quality

Undesirable quality

Activity needs

Adequate light to perform task

Functional lighting

Unnecessary level of Illumination

Accentuate lighting

Elimination of competing source of visual noise

Simulative environment

Biological needs Orientation

Level of horizontal reference clues

Horizontality & Inside outside context

Without horizon clues and unclear vision

Discernibility

The nature of surrounded enclosure

Eliminating unlighted areas

Avoid unshielded light and inconsistent source

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2.2.4

ENHANCING THE OBJECT McCANDLESS Elements for lighting a stage

Stanley MCandless’s method is used widely in lighting up a stage. It aims to create light that appears as natural as possible. His Method was published in a book “Method of lighting the stage”, in 1932. It casts four major elements needed for lighting the stage. Intensity: The intensity of light should correspond to the backdrop of the object. As darker color tends to block more light, It is used to increase the wattage. The bean angle is lit at 45 degrees. Color: It helps to create an environment which corresponds with the backdrop. A cautiousness decision is required for the visualization of space as well. E.g. the soft blue gel can be used in creating flattering neutral light, certain colors like greens, blues and reds are used for bold light. The color such as amber pink, sky blue should be used instead of bold to highlight the objects in museum. The illumination is without disturbing the background image. eg: cool and warm light blends opposite to each other Distribution: It’s an essence of creating visual drama. As such the whole space doesn’t need to light with same intensity. All parts have their own importance. Light from different directions cater different effects. It was discovered that during renaissance, most of the natural light falls diagonally. ‘the position of objects in relation to each other and their solidity of form’ is the description of the quality called ‘plasticity’. Light forms an angle of 45 degree, giving maximum plasticity in the space. As mentioned in ‘color’, a warm and cool light altogether will sculpt the object’s face better. Moonlight, Daylight and light from fixtures such as wall mounted, floor lamps etc are all different kinds of light from different places, positioned to light in a certain fashion. Though hidden lighting instruments create more impact to the space, the heights hung from the ceiling achieves a proper angle. Control: Control is the control of intensity, distribution, color and changes when using cool and warm methods. Intensity is manipulated till the desired balance is achieved. Often, each color will be at a different value because of how different color transmits light differently. Different colors multiple lights are sometimes used to provide a wide spectrum to work with.

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Fig 2.2.4 Illustration from the original Method of Lighting the Stage. McCandless experiments with lighting from different directions and the effects achieved by each of them:

1. General distribution: Where light falls from all directions and eliminating the cube or merging the cube with context. 2. Direct down light: Little illumination of vertical surface 3. Front-center light: Shadow falling on the back wall behind the cube and making the edge non visible. 4. Side lighting: Long shadow with fair top, creating a sharp contrast between 2 vertical surfaces. 5. 45o from center: Clear top lighting and lighting up two vertical surfaces of the cube. 6. 45o from side: clear top illumination and one vertical surface well lit. 7. Back lighting: Good top illumination and shadow separates base with surface, creating contrast and therefore used in motion picture work but poorly illuminates 2 vertical surfaces. 8. Front lighting from below: Foot light spot, exaggerating the shadow, with poorly lighted top and equal illumination on 2 sides. 9. Diagonal lighting: Desirable amount of light and shadow. used by architects to render drawings.

Fig 2.2.5 In the McCandless theory, each acting area is lit by two lights, each from a position 45 degrees above and to each side of the center of that area.

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ASSOCIATIVE DIAGRAM OF THEORIES

JOHN FLYNN

P.A.D THEORY

ROGIER VAN DER HEIDE

McCANDLESS

PEAK-END THEORY

KAPLAN & KAPLAN

WILLIAM LAM

• Memory based experience • Associate with past experience. • Imprints memorable moment.

• Preference based experience. • Evident observation

PREFERENCE

• Emotion or mood based experience. • Subjective observation • Translates the scene via emotion through lighting.

MEMORY

• Experience based perception • Defines in a literal sense • D=Binary observation • Contrasting quality

EMOTION

EXPERIENCE

RICHARD KELLY

According to the above diagram, each psychological environment based theory is linked with lighting designers theory where they both have some association in common. John Flynn and Rogier Van Der Heide have a contrasting quality resulting in a binary observation. The experience based perception defines the space in a literal sense. Their theories convert a space into an experiential approach. PAD theory and McCandless translates the scene or experience through emotion and so it results into a subjective observation. The emotional based approach allows to perceive the space according to the interpretation and this mood based experience can stimulate the journey just through lighting. Peak End theory and William lam’s theory associates the user with past memories and helps to perceive the space through memory based experience. It imprints the remarkable moment in the space which helps to remember the space more efficiently. Kaplan and Kaplan’s theory works on preference based experience where it results in an obvious observation. According to his theory, there are certain criteria which makes visitors put their preference according to the experience of the space. Hence these associative links help to put up a space through lighting which enhances the experience as well as the objects and can leave a remarkable impression in people’s mind.

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DISTRIBUTION OF LIGHTING As electric light becomes dominant in the environment, the selection of proper distribution of light plays a key role. The selection of proper lighting equipment requires a relationship between light, space and vision in order to define the lighting objectives with appropriate distribution and direction of light. It has the ability to control brightness and deliver the light according to the peculiarity of the element or space. UPWARD CONCENTRATING

An upward concentrating light beam involves a concentrated beam control. The principle used to this technique is to relieve extreme contrast while adding visual interest through a surface pattern and brightness variation. UPWARD DIFFUSED

When downward component is eliminated, the ceiling becomes partly dominated. This technique is used to emphasize structural forms or to reveal ornamentation. It produces relatively flat and low contrast environment. DOWNWARD CONCENTRATING

The light unit with narrow distribution and no upward component, so it is used to emphasize the ceiling or vertical surface. It is rather used for floor illuminating or object lighting due to its hill illumination. DOWNWARD DIFFUSED

It’s a downward distribution of light with a diffused beam through an internal spread reflector. It emits a wide angle which increases the incident light on wall and reduces concentration of brightness in space. MULTIDIRECTIONAL CONCENTRATING

A non uniform brightness can be created when low intensity brightness conditions. The nonuniform quality of light reflected from the walls and ceiling is usually insufficient to wash out all shadows and contrast. MULTIDIRECTIONAL DIFFUSED

It delivers both upward and downward components of light which emits in several directions. This distribution allows enough utilization of light in lower part of the space. It reduces shadow and contrast, creating a bright, general uniform lighting condition. Lighting in Museums | 64

SIDEWARD CONCENTRATING

The light unit with narrow distribution and no upward or downward component, used to light up walls from side. It produces a direct illumination and focused light on wall and highlights the vertical surface. SIDEWARD DIFFUSED

A side distribution, without upward and downward diffused light, highlighting the wall or any object from the side, and creates a uniform illumination and spreads out evenly. it produces relatively low contrast environment.

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Nature of Lighting Design 3.1 Lighting design objective 3.1.1 Visibility.............................................................67 3.1.2 Spaciousness..................................................72 3.1.3 Atmosphere....................................................76

3.2 Elements of illumination

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3.2.1 Vertical illumination.....................................79 3.2.2 Display units...................................................82

3.1.1 LIGHTING DESIGN OBJECTIVES VISIBILITY

LIGHTING DESIGN OBJECTIVE

VISIBILITY

Design attributes

Lighting attributes

Direction Movement Symmetry Continuity Boundary Surface

Brightness Glare Reflection Color Contrast Glow

Functional Approach

VISIBILITY Visibility grasps the first impression created on entering the space. It helps in defining the space and shaping it according to the context. It can be defined in 2 ways, by lighting attributes and by design attributes responding to space. Lighting attributes helps to perceive the space through brightness, contrast, glare, colors etc while the design attributes helps to perceive the space through directionality, continuity, similarity etc. The visual factor in a museum governs visitors from anticipation on arrival to communicating drama in exhibition space. The visually impactful space stimulates the perception and gives a sensorial experience throughout the journey.

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BRIGHTNESS

LIGHTING DESIGN OBJECTIVES - VISIBILITY

Visual sensation related to luminous intensity, provided from a concentrated source. The access light makes the environment light, making the object emphasis first

CONTRAST Visually assimilation scenario, making the object stand out of the usual environment.

GLARE A Visual sensation caused by excessive and uncontrolled brightness, overpowering the art piece or painting.

REFLECTION Helps to create a seamless image of the object, making it more clearer and helping to perceive the space boundlessly.

COLOR Enhances the object displayed and simulates the object more convincingly. it helps to highlight a specific area or zone or object.

LIGHTING ATTRIBUTES

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FLICKER

LIGHTING DESIGN OBJECTIVES - VISIBILITY

The stroboscopic effect, used to created the dynamic image of the object, showing certain movement in it, giving a realistic visualization

SPARKLE Emphasis directly on the light, making it the most significant thing in the space, used to light the object.

PATTERN Pattern adds the visibility factor with narration factor, making it a self narrative space.

SHADOW Shadow created depth through lighting and gave originality to the object.

DIM Darken space, focusing on just the object, and subtle out rest of the environment, emphasizing the display.

LIGHTING ATTRIBUTES

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LIGHTING DESIGN OBJECTIVES - VISIBILITY

DIRECTIONALITY Gives Directionality through light, and partially acts as a way finding.

MOVEMENT Guides the way of circulation through light and allows to orient accordingly.

FOCUS Helps to highlight a specific object which catches an eye directly at it.

SYMMETRY An organized symmetric layout through light, which helps in curating the space more efficiently.

CONTINUITY Eyes moves along the direction of light and links with other space, making into a seamless experience as well guiding the direction.

DESIGN ATTRIBUTES

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LIGHTING DESIGN OBJECTIVES - VISIBILITY

BOUNDARY A spatial boundary created by light to restrict circulation or to restrict the scene over there without physical borderline.

SURFACE

Enlightening the texture, color and other treatments on the surface. Light falling on that from top or side can emphasis the texture.

DESIGN ATTRIBUTES

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3.1.2 OBJECTIVES OF LIGHT SPACIOUSNESS

LIGHTING DESIGN OBJECTIVES

SPACIOUSNESS

Design attributes

Lighting attributes

Transparency Expression Uniformity Non-Uniformity Central Peripheral Horizontality Verticality

Rhythm Hierarchy Function Form Scale Proportion

Spatial Approach

SPACIOUSNESS Spaciousness factor helps to achieve the spatial perception in the space and defines the space according to it. Spaciousness is segregated in 2 ways, by lighting attributes and by design attributes. Lighting attributes help to perceive the spatial nature of space through uniformity, non uniformity, central lighting etc, while spatial context through scale, volume, proportion etc. The spatial factor in a museum governs the perceptual experience and makes the space more focused on the intangible factors. The spatially impactful space enhances the focus on objects as well as architectural shell and gives a correlating value to the space.

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LIGHTING DESIGN OBJECTIVES - SPACIOUSNESS

TRANSPARENCY

A visually lightness our environment, which directs the space within space and helps in a guided movement, along with an element of surprise.

EXPRESSION Express the narration behind the object in a subtle way.

UNIFORMITY Uniformly organized experience, which makes an easy translation of space as well the objects.

NON-UNIFORMITY Encourages hierarchy and helps in curating the space according to the light.

CENTRAL Makes the space perceive large and allows interaction with light directly having quality of daylight.

LIGHTING ATTRIBUTES

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LIGHTING DESIGN OBJECTIVES - SPACIOUSNESS

PERIPHERAL Makes the walls lighter and space darker, allowing to light the paintings directly with that light.

HORIZONTALITY Guiding eyes to scan the space horizontal Light transfers the eyes from one wall to another in a horizontal fashion. it makes the space wider and shorter.

LIGHTING ATTRIBUTES

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VERTICALITY Guiding eyes to scan the space vertically, making the space perceive higher in volume. It makes the space larger and narrower.

LIGHTING DESIGN OBJECTIVES - SPACIOUSNESS

The space can be perceived larger by a narrow beam of light on a dark space.

SCALE

The space can be perceived smaller by a broader beam of light on a dark space.

SCALE

RHYTHM

A rhythmic or continuous movement of eye, following a certain element through light.

FORM Defining the form of the space through lighting. it helps to perceive the form directly by light.

FUNCTION A task lighting, customized for different typology of objects likely spotlights for objects, diffused light for paintings etc.

PROPORTION Light plays a critical role in translating the perception of large & small space through certain lights.

DESIGN ATTRIBUTES

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3.1.3 OBJECTIVES OF LIGHT ATMOSPHERE

ATMOSPHERIC

Louis Clair’s approach

Indian approach Magnificent Convivial Theatrical Functional Discreet ShringarRasa HasyaRasa KarunaRasa VeeraRasa AdhbhutaRasa ShanthaRasa

Emotional Approach

ATMOSPHERIC Atmospheric factor in s space helps to perceive emotion based experience. Atmospheric factor is segregated in 2 ways. Lighting approach (Indian approach) and Louis Clair’s approach (Western approach). Both are mood based approaches, where Indian approach talks about different rasas which is the concept of Indian art and which can be translated visually but cannot be described. While Louis Clair had created the moods based on the lighting pattern and colors. He has described 9 such moods likely magnificent, theatrical, discreet etc. These mood based lighting helps to create an ambient and enhance the object displayed. For e.g. the weapon gallery will be reflecting raudrarasa where the anger, boldness and bravery is being reflected by light. The emotionally impactful space translates the scene via emotion and gives a memorable experience.

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LIGHTING DESIGN OBJECTIVES - LIGHTING ATTRIBUTES

SHRINGARRASA Connects to the devotion, appreciating beauty and love. Used to translate an affection in narration. Eg: Palace museum

HASYARASA Connects to humor and laughter, appreciating happiness and contentment. Used to translate blissful and pleased narration. Eg:

KARUNARASA Connects to the cosmos and sadness, experiencing compassion. Used to translate grieving narration. Eg: War memorial museum

VEERARASA Connects to the bravery, appreciating confidence and pride. Used to translate strong and vibrant narration. Eg: King or Soldier’s museum.

ADBHUTARASA Connects to curiosity and mysterious nature. Used to translate playfulness and innocence in narration. Eg: A specified collection museum i.e. Fashion museum

SHANTHARASA Connects to calmness and relaxation. used to translate still and quietness in narration. Eg: Art galleries or a painter’s museum.

LIGHTING ATTRIBUTES

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LIGHTING DESIGN OBJECTIVES - LIGHTING ATTRIBUTES

MAGNIFICENT Magnificent mood is achieved through play of colors and intensity of light along with the element of surprise.

CONVIVIAL Convivial mood is achieved by accumulating happiness and joyfulness along with the happening space.

THEATRICAL Theatrical mood is achieved by adding a drama through narration of space. It is generally used to depict a storyline.

FUNCTIONAL Functional lighting is achieved by adding task lighting according to the object. it translates the object directly without narration. Generally used for non contextual objects.

DISCREET Discreet lighting is achieved by added effort in knowing the object’s properties. It translates the object with a conscious decision. Generally used for sensitive objects which can get damaged by light.

DESIGN ATTRIBUTES

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3.2.1

ELEMENTS OF ILLUMINATION Methods of Lighting interior elements Vertical Surface

Lighting acts as a mirror, reflecting the narration of museum space. Museum translates much more than just displays, it also provides a narration, mood or perception of space through lighting. Lighting helps to draw attention directly to the required area. Functional light is mandatory for museums as it helps to read the objects and other artifacts. Other factors also add up to the spatial definition of the space, likely the proportion, color scheme, nature of exhibition and last but not the least lighting. Lighting is categorized in 2 core types. Diffused and direct. Direct lighting is used where it requires direct attention and draws visitors towards it. While diffused light adds up to the ambiance of the space.

Fig 2.3.1 Direct top lighting on a vertical surface through spot light

1. Direct top Lighting These lighting is used to highlight the wall with a direct light. it is generally used to light paintings and artifacts against the wall. The spot created, lights the particular painting or object, highlighting its details. It is focused only on a specific object which is against the wall Eg: Painting, artifacts, Drawings, idols etc.

Fig 2.3.2 Direct bottom lighting on a vertical surface through spot light

2. Direct bottom Lighting These lighting is used to light a wall with direct lighting. This lighting quality is used to light a statue or idol by creating a direct spot on that idol. The light from the bottom on a particular object allows the reader to read the detail of that object and creates an indirect highlight, focusing on that object. Eg: statues, idols etc. The combination of top and bottom lighting makes the scenographic experience complete. It allows light to flow from top as well from bottom, making the object look more realistic.

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Fig 2.3.3 Diffused top lighting on a vertical surface through an indirect source

3. Diffused top Lighting These lighting is used to highlight the wall with a diffused fashion. It is generally used to light an ambient wall or highlight a particular surface through creating an ambiance.

Fig 2.3.4 Diffused bottom lighting on a vertical surface through an indirect source

4. Diffused bottom Lighting These lighting is used to highlight the wall with a diffused fashion. It is generally used to light an ambient wall or as a way finder. Bottom lighting enhances the beauty of heritage elements and adds a certain value to it. Though it is not used to provide a focused light on a particular object, but is used to create an ambiance instead.

Fig 2.3.5 Diffused lighting on a vertical surface from top and bottom through an indirect source

5. Diffused Lighting These lighting is used to enlighten the wall which has certain details and highlight that detail more intensely by creating shadows and contrast. it is used specifically to highlight a wall or column or any vertical surface, having rich heritage quality.

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Fig 2.3.6 Direct focused lighting on a vertical surface through a direct source

3. Direct Front Lighting This lighting is used as a way guiding system and can be used in a transitional way or on an external wall. It distributes the light in all direction sand creates a bundled light and gets a concentrated brightness on the surface.

Fig 2.3.7 Diffused front lighting on a vertical surface through a direct yet diffused source.

3. Diffused Front Lighting This lighting system is used for floor lightening as well as a way guider. It is generally used in transitional space and spreads in all directions. it does not provide a bundled light and as a result it gives a uniform light.

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OF ILLUMINATION 3.2.2 ELEMENTS M L ethods of ighting interior elements

Display units Display Units act as a core ingredient in museums. And lighting defines the function of that unit. Display units are categorized into 2 main genres, Wall mounted and Floor mounted. Floor mounted is an independent unit, which generally showcases smaller objects below eye level. For those categories, display units are divided into 4 ways to be lighted up. Display units replicate the object’s quality and richness through the lighting provided to it. Different lighting is used to light different types of objects, which are explained below. 1. Diffused Lighting from Top: These lighting is used to light the entire display unit with uniform light Quality. A light strip passes through the periphery of the unit and light is covered with a diffuser. This lighting quality is used for products which did not seek more light to reflect its quality. E.g. Weapons, Shells, Coins

Fig 2.3.5 Diffused lighting from top in a display unit through a continuous linear source

2. Bottom Lit display: These lighting is used to enhance the flat objects, which can be seen horizontally. The Light reflects back from base and passes through the object. This light quality is used to light flat objects which are adequate enough to take the light and does not damage itself. E.g. Fabrics, undyed leather, papers etc

Fig 2.3.6 Bottom lit display in a display unit through a uniform surface

3. Direct top display: These lighting is used to light different objects, providing more light on the object then the surrounding. It’s a direct light which is generally used in anthropology museums, where the idols and small materials need to be lighted individually. E.g. : idols, Pots, Dish, Copper based items

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Fig 2.3.7 Direct top display in a display unit through multiple lights.

4. Common direct lighting: These lighting is used to light the overall display which does not require individual lighting for each object. This lighting quality is generally used in showing a model or small prototype of a space. Fig 2.3.8 Common direct lighting on a display unit through an external light

Fig 2.3.9 Integrated lighting from top in a display.

E.g. : Model of an old Lothal village, Model of Gandhi Ashram. 5. Integrated lighting from Top: These lighting is used to light elements which requires a uniform lighting from top. It gives a diffused lighting, uniformly spread over the display. This lighting quality is used for the objects which require an uniform and diffused light. E.g. : Apparels, stone idols etc 6. Front lighting: These lighting is used to light elements which requires a focused lighting. It is brighter towards the edge while diffused in the center. Their lighting quality is used for the objects which requires a central highlight.

Fig 2.3.10 Front lighting in a display unit through a linear source.

E.g. : Metal plates, ceramic pots, Instruments, stationeries, accessories etc. 7. Direct Lighting from Top: These lighting is used to light elements which require focused and diffused lighting. it directly focuses on the object and reflects its small details. Their lighting quality is used to achieve a uniform as well focused light.

Fig 2.3.11 Direct lighting from top in a display unit through a linear source.

E.g. : Jewelry, Crafted items etc.

Hence, different objects need different types of lighting. it depends on the characteristic and properties of the object which are being accomplished by the lights falling on it. Apart from enhancing the object, light also has its concerns. The direct light on sensitive objects may deteriorate its character but appropriate lighting temperature along with UV filters and adequate measures can save the object from getting damaged.

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Technical concerns

4.1 4.2 4.3 4.4

Amalgamation of Light with Technology in Museum...................86 Challenges and concerns of Lighting a Museum..........................89 Challenges and concerns of Lighting a heritage building........95 Guidelines for electrical in Heritage buildings...............................98

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4.1

TECHNICAL CONCERNS RETHINKING LIGHT AND TECHNOLOGIES IN MUSEUM

Controlling museum lighting means lighting the total exposure of objects to levels of light acceptable to both artifact preservation and visitor’s comfort. There are other key ways to regulate the amount of light on objects during exhibition by reducing light intensity or by reducing light duration. The intensity of light can be reduced by: 1. By using a lower wattage bulb or by reducing it to fewer lights. 2. By moving the sources far away for the object on display. 3. Deflecting daylight with blinds or window shades. 4. By installing neutral density filters on fixtures. 5. Using dimmers for electric light. Reducing time duration of light is probably the most beneficial and most effective measure to minimize the damage on artifacts. The duration of light can be reduced by: 1. By exhibiting items for a shorter time period. 2. By closing blinds, curtains or shades to avoid light entering the museum when it’s closed. 3. By turning off the lights when not in use. Either manually or by timer based sensors. 4. By using occupancy sensors. Occupancy Sensors: An Automated method of reducing the duration of exposure, by turning on & off the lights, sensing the motion of visitors. When it detects motion in visitors it turns on automatically and when still till certain defines time, then it switches off automatically. This circuit of light aims on sensitive artifacts which are not allowed to get exposed for a longer time in light. The suitable place to keep installed these senses where the visitors cross the path rather than coming directly towards it. These sensors detect the visitor and have enough time to light up before the visitor reaches the artifact. Vacancy Sensors: Likely an occupancy sensor, it turns off automatically although it requires a manual start up. The sensor automatically shuts it off after a significant length of time, if no motion is detected. it does not offer the option of automatic turning on the light. Dimmers: It adds flexibility in museum space, allowing to adjust the intensity of light. For eg: a 50 - watt flood light is inadequate for lighting an object, and 100 watt gives over exposure, dimers give the wattage to 60-70 watts according to the requirement. Dimmer switches can be applicable in 2 options: 1. Changing out the wall switches in exhibition gallery 2. Locating such that it is not accessible by visitors.

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Disadvantages of sensors: 1. Specifically sensitive to thermal radiation. 2. Unequally sensitive to various distances of the detection range. 3. Insensitive to very slow motion in standing mode. 4. Wider sensor field view for lower temperature range with distant object sensitivity. Advantages of sensors: 1. it is energy efficient 2. Controls the lighting system 3. Sets effective mood lighting 4. Ensures longevity of lighting source. Filters: It filters out the UV radiations present in the light. The entire spectrum of UV light falls outside the range of visible light, which can be filtered out without affecting the visibility of objects on display. UV Filters come in various forms: 1. Film, applied to window 2. Diffusers, made out of plastic for fluorescent fixtures. 3. Sleeves that go over fluorescent bulbs. 4. Glass filters for track light fixtures. UV light affects the artifacts which started at 300 nm and goes to 400nm. Strategies to control damage by UV radiations - Placing light sensitive objects in protected glass boxes/cases. - Placing objects and painting in frames with protective glass cases. - Avoid exposing the objects to light when not using motion sensors. - Filter tubular fluorescent lights and UV blocking sleeves. - Covering windows with shades.

Fig 4.1.1 Electromagnetic spectrum where the visible spectrum is from 400 to 700 nm

Sensor Technology: The level of sensitivity in a sensor will be determined by the design of space and amount of activities happening within the space. There are 3 distinct technologies, so that each gets an appropriate solution to space. 1. Passive Infrared Technology: PIR sensors switch lights ON and OFF when a person exits their field of view. It is designed to detect motion from a heat emitting source.

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2. Ultrasound Technology: Ultrasound sensor technology is used to send out ultrasound frequency and it detects the sound through movement of body. This sound wave bounces off and converts into electrical waves. Operating principle: - All objects with a temperature above absolute zero emit heat energy in the form of radiation - Usually this radiation is invisible to the human eye because it radiates at infrared wavelengths Advantages: 1. Passive detection system like the radar system 2. Relatively low power consumption 3. Accurate detection in narrow areas with precision optics 4. Compatible to work with 5. Improved external light interference resistance for performance enhancement. Filters of tube shaped fluorescent lamps are available in the form of thin, soft plastic sleeves and hard plastic tubes. Fluorescent lamps produces less UV than others. Exhibition Lighting; Paintings are the most susceptible factor to light damage. The intensity of light and the length of time will be displayed on primary factors. The sensitive materials exhibited for 3-4 months in 50-150 lux level shows no fading. The office has 400 lux level while sunlight has 30,000 lux level. Lower light levels are necessary for light sensitive materials and can resist up to 150 lux. If the light level increased from 50-150 lux, the time of exhibit needs to be reduced. The sensitive objects like paper, wood, leather, textile or other organic objects should not be the part of permanent display. Damage of material is directional proportional to light level multiplied by the time of exposure, measured in lux level. For example, if an object is lit for 10 hours in 24 hours at 50 lux level for 100 days, it would have a dosage of (50*10*100 lx h). Ida light sensitive materials would only have an annual exposure of 50,000 lxh. The amount of expected damage occurs with brighter light and short time as dimmer light and long tie. When establishing limits on exhibition times, factors to consider include: - The amount of time the lights are turned on in the exhibit space. - The sensitivity of the items being exhibited - The desired lifespan of these items All sources of UV rays in light can be filtered, and the exposure of collections to visible light should be considered. Light damages bindings, photographic emulsion, and other materials including the dyes, pigments, inks used in any library and archival materials.

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4.2

TECHNICAL CONCERNS

CHALLENGES AND CONCERNS OF LIGHTING IN MUSEUM

Museums consume a significant amount of energy to light up and maintain the internal environment for the objects and paintings throughout the day. Lighting in museums should be developed with lighting quality as the primary objective. Displays need their own environment to experience. Balancing energy and quality of light becomes the biggest challenge in museums today, where the energy savings overcome the quality of light and becomes a factor of compromise. Balancing out daylight and electric light is the fundamental objective to light any museum. According to Richard Kelly, artificial light plays the primary role in lighting while electric light acts as a supplementary light. When the daylight offsets a considerable amount of electric light, it becomes a success itself. Daylight has significant benefits for visitors as well for objects over there. There are certain criteria and concerns for undertaking lighting in museums, which are described below. - Overtime exposed painting in light can result in gradual yet permanent damage due to UV rays present in lights. - Certain light with more intensity affects the painting and damages its original color. - Heat produced by light damages the sensitive paintings as well damages the sensitive objects. - Some objects are kept safe in a glass box, for visitors to see, but the angle sometimes produces glare and reflection which compromises the vision of visitors. - The lighting should focus directly on objects rather than uniformly lighting the entire space. There should be a certain hierarchy in lighting which helps in focusing objects over circulation. - The ambient light should be such that it does not fall directly on visitors’ eyes. The lighting should subtly translate the experience and space to them. - The lighting should not overpower the museum, making objects and paintings gloomy. Filtering out UV Radiations form light; UV radiations can be filtered from windows, exhibit cases, glass cabinets etc. UV filtering film is the most effective way to cover the surface and allows light to pass through it. Apart from films, acrylic panels can be used - in place of window glass - mounted as secondary glazing on an existing window - mounted inside the window from magnets or as a separate frame, which allows light to pass through it.

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One of the biggest concerns faced by museums today is to create a balance between quality of light environment and level of energy consumed. There should be a balance between these factors to achieve ideal lighting for museums.

VISIBILITY

INTEREST

PRESERVATION

ENVIRONMENT

Accent of display: The play of lightness and darkness brings a great effect in display environment. Dramatic scenes can be created by darkening the exhibition space and narrowing the beam angle, cutting through the darkness of the environment and falling directly on the art piece. Lighting techniques for sculptures: Objects can be framed with maximum impact by avoiding the spill of light on the surrounding wall. Static objects shine out by a concentrated spot falling on it and attracts visitors to draw their focus there. To achieve uniform lighting for big masterpieces, the lights should be positioned such that it falls under minimum risk of casting shadows. For sculptures, the optimum angle of illumination is 30 degree, ensuring not to cast any shadow. By arranging high and low intensity narrow beams, the optimum angle of incident creates a mesmerism effect.

Contrast Ratio: The intensity of contrast between bright and dark areas by using accent lighting causes focus directly on the desired object. The contrast ratio of brightness and darkness suggested for museums is 6:1 between the brightest and the dimmest object, while its 2:1 for galleries. Accent Vs Wash: Narrow beam of light provides high luminance to sculptures and paintings, leaving themselves the center of focus. The variety of beam diameters is used to achieve a different combination from accent to wash. By widening the beam angle, uniform distribution of light is achieved. Highlighting: The use of direct light gives a deep contrast between light and dark on the object which is complimented by a low intensity light. by using the combination of low and high intensity light on object, the surface and texture gets enhanced. Beam Angles: Narrow spots provide intensity light over a distance, generally having a beam angle of <10 degree.

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Spotlights with 10-20 degree are particularly used for accent lighting on 3d objects. Flood lights with angle 25-30 degree and wider flood lights of beam angle >45 degree are used to create uniform lighting in large areas.

Fig 4.3.1 Beam Angles (i) Front Spot (ii) Front Flood (iii) Front Wide Flood

Lighting Effects: - Group dimming created a subdued mood, drawing visitors closer to the object. - Individual dimming draws the visitor’s eye towards a specific object by highlighting it with contrast and depth and making the rest of the objects subtle. - Low level of contrast reduces room for darkness and brightens the room, allowing visitors to explore the space. - High contrast level allows visitors directly to focus on key points within the space and creates more theatrical experience.

Fig 4.3.2 Lighting effects (i) Group Dimming (ii) individual Dimming (iii) Low level of contrast (iv) High level of contrast

Integrating Natural Light Daylight brings out connections with the outside world and helps visitors to interpret the space and architecture more comfortably. Direct sunlight can damage sensitive objects as it contains UV radiations as well heat. It can be used in museums unless it is controlled and diffused. Direct contact causes damages to artifacts, paintings and objects. Color temperature off daylight changes throughout the day, so in order to control that, it can be split into 2 elements, ambient and focused. Ambient light creates a dynamic environment while electric light balances the focus.

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Selecting the luminaries: Lighting requires a particular luminaire for clear vision on details as well collections. Lighting a museum requires a curation of wide range of lighting products and techniques: 1. Variation in light beams. i.e.: Wide and flood beam, narrow beam etc. 2. Framing out heads and Gobos. 3. Wall-washing 4. High mounted lights, especially for high ceiling voids for large objects. 5. Prevention of Light spill 6. Dimming the spotlights via wall dimmers or app based or on-board dimmers. 7. Using Track-lights for flexibility of light on a positioned object. Harmful Impacts of Radiant Energy: Lighting can damage the sensitive art piece as well paintings made out of natural dyes. the traditional lamps used to light that were damaging the art-pieces and paintings even with the filters on. LED technology. However, created UV filtered light, which avoids damaging sensitive paintings and objects. Materials

Sensitivity

Lux Level

Textile Fabrics, Furs, dyed leather, prints, drawings, colors, photographs, natural dye paintings etc.

High

50 Lux

Oil and Tempera paintings, wood, furniture, lacquer, bine, ivory, plastics, Undyed Leather etc.

Medium

100 Lux

Stone, Glass, Ceramic, Metal, outdoor wooden obejcts etc.

Low

300 Lux

Certain materials require a certain Lex level to avoid damage on art pieces or painting. The most sensitive materials include dyes, colors, papers and such soft materials, which can take up to 50 Lux level of light without damaging the art piece. While the materials like wood, ivory, bone require light level up to 100 Lux and the strongest elements like stone, metal, ceramic can take up to 150 lux level.

Fig 4.3.3 Part 1: Exposure to LED light with UV Filters Part2 : Fades away the painting by exposure to IR and UV Light.

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Color Rendering Index: Color Rendering index gives the indication of rendering ability of a light source. The CRI over 80 is considered true and provides good results in visibility. CRI and Quality are directionally proportional to each other. The aim of the exhibition is to show the object in its natural form. However, LEDs created white light, combining with blue light and yellow phosphor, making it better in lighting blues and reds in the color spectrum. CRI level>90 are best for museums and galleries, providing vibrant blues and reds in its natural form.

100

Accurate: Medical Examination, prints, Museums, Galleries

Good: Retail, Restaurants, Office

Moderate: Office, Supermarket, classrooms

Fig 4.3.4 CRI Index An index showing color level vs color spectrum to achieve a particular CRI.

CRI LEVEL

Poor: Street Lighting

Average: Street Lighting, Parking

20 COLOR SPECTRUM

Color Temperature: Color Temperature is inversely proportional to the warmth of the light. A light of 4000K gives more cooler light then 6000K, while 2000K gives much warmer light. Color temperature not only affects the color appearance of the space but also creates a mood in visitors. Cooler lights make an exhibition space crisper and modern while warmer makes them feel cozier. Due to advanced technology, the same light source can be dimmed from midday light level to evening light, i.e. 3000K light can be dimmed by dimmer to 1600K by maintaining the same light quality as well beam control.

Fig 4.3.5 Color Temperature Three scenes showing the rendering in each of them with different color temperature. 3000K

4000K

5000K

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Benefits of LED Light: 1. Lasts long and has a capacity to light upto 50,000 hours. 2. Energy Efficient and consumes 100Lm/W 3. It is Inherently rugged and has a non - fragile construction 4. Instantaneous light and does not require a warm up. 5. Environment friendly as it does not contain mercury or lead. 6. it is infinitely dimmable and can show dynamic character in lighting effects and power saving. 7. It has infinite color palette and offers saturated colors as well without a filter. 8. It reduces maintenance cost 9. It does not emit UV or IR radiation. 10. It has design flexibility and fits into any size. 11. Robust, vibration proof, solid state lighting. 12. Lower light pollution due to optical control. 13. Uses low voltage DC which is less than 50 volts.

• • •

Heat Reduction Optical Efficiency Dimmable

ENERGY

SPAN

LED • •

Less maintenance Instant start

CHARACTERISTIC

• • • •

Carbon Reduction No UV / IR No Mercury / Lead Design Flexibility

LEDs have evolved immensely in the past 10-15 years. LED products can take on a variety of shapes and sizes, they offer tremendous opportunities for innovative lighting solutions for museums. There are specified lights designed for museums such as “Art centric light” by Osram where the beam angle, color temperature etc can be set according to the requirement and meet up with the needs of lighting various artifacts. Erco eclipse provides 3-4 types of beam angle in one spot light. Their lights have dark light lenses and reliable trans adapters, which maximizes visual comfort and a system spectrum which creates an unparalleled scope of individual lighting solutions. Apart from that, there are latest products which offers the choice of spectrum, CCT, CRI and Beam shaping. Hence, these all things contribute in making a seamless experience in museum and delivers what needs to be highlighted.

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Fig 4.3.6 A diagram showing the pros of using LED in Museum space.

4.3

TECHNICAL CONCERNS

CHALLENGES AND CONCERNS OF LIGHTING IN HERITAGE BUILDING

Historic lighting fixtures and the quality of light combines with original daylighting features, contributing significantly to the authenticity of historic buildings. Selection of inappropriate lighting systems have compromised many Historic buildings. Factors like Space alteration, Electric up-gradation and modernized equipments often provide opportunity to reclaim the value of heritage building. All historic building, undergoing restoration needs an approval review from GSA building preservation officer. Historic Structure reports (HSRs) and GSA Building Preservation plans (BPPs) identify significant spaces and historic fixtures required for retrofitting. They also identify the location where lighting needs to be removed and replicated to upgrade overall lighting. Lighting qualities considered in planning GSA historic building project include - Variable lighting levels with electric lighting placed to highlight architectural design and support tasks - Electric lighting supplementing the daylight. - Preferable lamps casting warm light temperature. GSA considered a variety of factors for achieving multiple goals which should not be compromised. - Preservation of historic materials and characters - Energy conservation - Occupant comfort - Maintenance requirements - Initial costs - Disposal costs and environment impact - Aesthetics. Daylighting and historic light fixtures play a major role in building’s unique historic character. Shades, blinds and glare control for windows can help customizing the experience according to the character of the space. Skylights provide daylight for space lacking windows. Skylights also act as an emergency measure for public safety and also for roof maintenance. As per the framed guidelines, building within heritage precincts should maintain skyline and follow the architectural style. There are 3 grades of grading the heritage building Grade 1: Precincts historic importance, with excellent architectural style, design, technology, and material usage or aesthetics. They may be associated with great historic events and have been a prime landmark of the region. It requires careful preservation.

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Grade2; Maintenance: having regional or local importance having special architecture or aesthetic or cultural and historic significance through lower scale. Local landmarks and contribute to identify the region. It requires intelligent conservation Grade3: Persists importance for township, evoking architectural, aesthetic or sociological interest not as much as heritage. contributes to determine character of locality and can be distinguished by facade and uniformity of height, width and scale. Requires intelligent conservation at a lesser scale then grade 2 and a special protection to unique features and attributes. Preservation space of work requirements for lighting up grade at historic buildings include - Optimizing daylighting - To meet current energy conservation and performance requirements, by using retrofitted historic light fixtures suitably with new lamps - Retaining and restoring old lighting fixtures. - Supplementary historic lighting - only when the performance requirement cannot be met by retrofitting solutions and daylighting. Heritage buildings requires some principle goals to achieve before renovating any space. The central to the DOI standards, which are based on European standards used throughout the world are - Not harming historic materials - Maintaining authenticity - Restoring significant spaces correctly, based on old documentation. - Design changes sympathetically Federal standards for public services: Historic lighting may be upgraded with reflectors, ballasts, energy efficient lamps and various other means to achieve required light levels, if only alterations can be made without disturbing the appearance of light fixtures. Energy efficient light sources should match the white and warm color range of daylight or incandescent light as close to as possible. Replica fixtures which have energy efficient light sources should incorporate high output to achieve required light levels and meet standards of energy conservation. Supplementary lighting, if required, should be designed and installed to avoid competing visually with historic lighting. Task lights freestanding torch light and accent lighting are recommended for increasing the light levels in ceremonial spaces which contains ornamented ceilings and chandeliers.

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Retrofitting historic lighting: The least expensive and the simplest method of reducing energy use in space containing historic light fixtures with incandescent lamps concealed by translucent and opaque globes, lenses, shades is to replay with compact florescent lamps. Changing a florescent source with color temperature as close as possible to that of incandescent lighting (2700K) will help to create that same ambiance. CFL, metal halides and screws in LED lamps are not the replacement for historic chandeliers featuring exposed incandescent lamps. However, high energy efficient lamps, which used 25% of the energy then standard incandescent lamps will offer an energy saving alternative. Historic fixtures do not provide adequate lighting, so sometimes, LEDs or fiber optics which can be modified and can bring to the compatible color temperature. In historic spaces, requirement for increasing the light level applies the following order of preference: 1. Retrofitting historic lights 2. Supplement historic lighting with discreet identity, preferably indirect and avoid competing with historic lighting. Replicating historic lights: Historic light replication often provides improvised lighting performance and energy efficiency. While specifying replica fixtures, consulting a GSA’s RHPO and electrical engineer or sustainability expert to determine the most cost effective preservation of appropriate lamp. Reproducing historic light for a significant space such as courtrooms may be fixed with a combination of multiple light sources separately such that dimmable switch setting allows to dim the overall space, historic light level for ceremonies and working light level for a normal use. . Maintenance contributes in keeping lighting solutions performing for a longer period of time. Light upgradation in historic building includes - Confirming the convenient availability of replacing lamps for a new and upgraded fixtures before modifying any fixture. - Balancing the same color temperature as earlier to avoid mixing cool hues and warm hues in the same space. - Revamping fixtures within a space as a group to avoid uneven color temperature distribution, as lamps change temperature overtime. Hence, for lighting modifications within historic buildings, preserving design criteria and performance with aesthetics and efficiency can meet the appropriate lighting solutions in historic buildings.

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4.4

TECHNICAL CONCERNS

WIRING SOLUTION FOR HISTORIC BUILDING ACCORDING TO BSI AND IET GUIDELINES

Wiring in heritage building falling into 3 categories: 1. Very old wiring predominates with VIR (Vulcanized rubber) cables, which often runs within steel conduits. 2. Wiring is a mixture between VIR cables, PVC twin earth cables and MICC cables with or without plastic sheath. 3. All wirings are of new MICC/PVC cable or new PVC twin earth cable. Wirings falling in 1st category which is existing VIR wires will have long passed the end of its productive life. Carry that same wire can put lighting into risk and can harm the installation. Wiring falling in 2nd category should be testified and establish which part to be replaced and which part to be reused. Wiring falling in the 3rd category will have to undergo testing according to BS7671:2001. Periodic inspection and testing gives a full detail of each task performed and will list the rectification of work required for the entire installation to complete with current regulations. In the historic building, lighting points and switchboards are to be kept at its existing location and the old VIR wires to be replaced with the PVC single cables, running in the existing conduits meeting the existing points, and saving a lot of work of re-plastering and redecoration. Each circuit must have its own neutral and earth conductor, as the existing steel conduit cannot be guaranteed to be continuous. The conduit bound to earth makes the circuit complete. The new PVC cable shave a low smoke and fume (LSF) sheath ensure that cables are not liable, while ordinary PVC wire produces corrosive halogens and smoke during fire. New PVC wires can prevent smoke damage during fire. PVC twin earth cables are not generally recommended for historic buildings as these cables are physically weak and can be abraded when being drawn into a building or a building environment. Vermin often attack PVC insulation and this material can also be degraded and becomes brittle under the adverse environmental conditions or the UV light. There are certain points to be taken into consideration for fixing new installations in heritage building: 1. For future expansion of building, the installation of conduits, trucking and slightly larger cables, are done so that the additions can be done without reopening floors and damage decorations.

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2. To minimize the visual impact, the electrical installations should be consigned to non sensitive area such as cellars, risers, unused chimneys, roof spaces, ventilations-voids or floor voids. Where this is not possible, problem can be resolved by concealment and disguise and careful selection of finishes and materials. Each building must be treated on its own virtue. 3. There are 2 types of cables used for sub main cables. i.e. MICC/LSF and PVC/SWA/LSF (Poly vinyl cables, low smoke steel armour and fume sheath). The MICC/LSF cable is rigid and is only suitable for certain locations, where as PVC/SWA/LSF are very flexible and can be easily woven around the historic building. 4. While fixing cables, the surface of historic brickwork or stone must not be damaged in any way. The unavoidable cables running cables across the bricks or stone should be fixed into the mortar joints, between the bricks or stones using brass fixing screws so that they can be removed later without damaging the historic fabric. When mortar joints are friable, the existing mortar joint is racked out and refilled with newer compositions as specified by surveyor or architect. 5. When drilling holes for passing wires through them, it should be small and neat such that there should be no room for extra space to settle in the dust. 6. The cables chased into the plaster walls should be carefully and neatly made them run between 20mm round plastic conduits, such that at the time to repairing, it won’t need to re-cut chases in the wall and thus prevent building from further damage of ornamentations in near future. 7. When cables are passed through the joists, which should be drilled in the center rather than slotted. All cutting of joists must be kept an absolute minimum. If notching of joists is not avoidable, then 3mm steel plates are used to prevent nails and screws. Old notches should be used when possible. It needs approval from an architect or surveyor before notches are cut in floor joists. Hence, by using right cables and methods of concealment and installation to suit the building and maintain its historical integrity, it can lead to a successful lighting solution.

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Selection criteria for Secondary Case Study The 3 secondary case studies have been selected on the basis of best lighting application in last the 5-7 years. All these projects have been nominated or selected for Lighting awards, providing a good example of light in museums. These case studies have their existing structure established 2-3 centuries ago, and that has been adopted into museums, imposing a thoughtful lighting in it. The sorting was based on a good example of lighting in museums, housed in heritage buildings. The museums are shortlisted from different countries of the world. It varies from specialized museums to national history museums, providing a diversity in lighting the objects. All these cases are from professionally acquainted practicer and have won awards in the professional field. 1. National museum of Natural History, London (Natural history museum) 2. German ivory Museum, Germany (specialized Museum) 3. Kunsthistorisches Museum, Austria ( Historic art museum)

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Tangible Approaches 5.1 International Approaches 5.1.1 Natural History museum, London..................102 5.1.3 German Ivory Museum, Germany.............116 5.1.6 Kunsthistorisches Museum...............................130 5.2 Presidential Study 5.2.1 Bhau Daji Lad Museum, Mumbai...............144 5.2.2 Victoria and Albert Museum, Jaipur..........164

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5.1.1 TANGIBLE APPLICATION INTERNATIONAL APPROACHES Natural History Museum, London

NATURAL HISTORY MUSEUM, LONDON CASE STUDY 1 Location: London, UK Established in 1793 Re-opened in 2017 Architect/Interior: Casson Mann, UK Façade Designer: Avanti Architects Lighting Designer: DHA Designs, UK

• • • • •

Highly commended: Lighting Design Awards, 2018 Shortlisted: Museum + Heritage Awards,2019 European Museum of the year Awards Winner: Darc Award, 2018 Winner: Fx Award,2019

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National history museum was established in 1753 by Sir Hans Sloane, which was later opened up for public on 18th April, 1881. Sir hans Sloane traveled the world and collected the specimens and cultural artifacts. He nearly collected 71,000 items. The govt purchased his collection and built a British museum to display these items. It remained the part if British museum till 1963. In 1864 Francic Fowke, the architect who designed the Royal Albert hall and parts of Victoria and Albert museum, won a competition to design the Natural history museum. His unexpected death led Alfred Waterhouse to take over and come up with a new plan of the museum. Waterhouse used terracotta for the entire building as it is more suitable for the harsh London climate. The Romanesque architecture, gradually became one of the most iconic landmarks. Large specimens started to get exhibited in that museum. It regularly unearths new exotic species of animals and plants all over the British empire. Later museum started displaying large creatures like Whale, elephants and dinosaurs, including the ‘Diplodocus’ which was on display for over 100 years. The Museum’s central space was redeveloped in 2017. The Diplodocus skeleton was replaced by 25 meter blue whale skeleton, suspended in the hall. It was intended to be a reminder that humanity has a responsibility to protect the biodiversity of this planet. London based studio ‘Casson mann’ has undertaken this task of renovating the Natural history museum. Casson Mann’s design involved reorganizing the entire layout of the space. it aimed to achieve an uncluttered appearance that celebrates the Romanesque architecture of the grand hall which was originally designed by Alfred Waterhouse in 1800. The museum is spread out into 3,00,000 sq ft. The case of 4 spaces, central hall, object display, painting gallery and circulation space is studied in this case study. The objects are placed next to each other as shown in pink color, which undergoes circulation from the central area individually in each pocket. The primary circulation, connecting one place to another is highlighted in purple color.

Central Hall Objects Paintings Circulation

Zoning diagram of Natural history museum

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John Flynn’s Theory ___________________________________________________ John Flynn’s 4 lighting modes i.e Uniformity- Non uniformity, Central-Peripheral, Bright-Dim, WarmCool lighting are described by taking the case of 4 spaces, i.e. Main central hall, object/display lighting, Painting gallery and Circulation space. MAIN HALL:

Non Uniform: for highlighting certain elements. Peripheral lighting: This lighting in a historic building creates a sense of placement. Dim: To create an ambiance and highlight the structural elements. Warm & Cool: Warm for architectural elements and cool for whale, creating a contrast.

OBJECT LIGHTING:

Central lighting: For focusing on the object Non Uniform: Central object has focused spot light while other to create an ambiance. Bright: To catch the details of the objects clearly and to highlight it. Warm: Creates a sense of relaxation and attracts you to explore more.

GALLERY LIGHTING:

Central lighting: For creating even lighting. Uniform: For highlighting each painting equally. It has a diffused soft light to avoid shadows. Bright: To observe the paintings in detail. Cool: Creates a sense of openness and gives an ambience of natural light.

CIRCULATION LIGHTING:

Peripheral lighting: For highlighting historic elements. Non Uniform: For putting emphasis on the ceiling. Moderate: Bright enough to walk and dim enough to appreciate the ceiling. Warm: Creates a welcoming passage.

Hence, the lighting modes used in these museums are articulated according to the requirement and makes the space enhance its character according to its function. Below mentioned table describes lighting quality and the type of lighting mode used in each space. Uniform/Non uniform

CentralPeripheral

Space

Lighting Quality

MAIN HALL

Direct lighting highlighted Elements

Non uniform

Peripheral

Dim

Warm

OBJECTS

Direct Focused light

Non uniform

Central

Bright

Warm

PAINTINGS

Diffused Evenly light

Uniform

Central

Bright

Cool

CIRCULATION

Diffused ceiling lighting

Non uniform

Peripheral

Moderate

Warm

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Bright- Dim

Warm- Cool

PLEASURE: The mesmerizing effect, or the fIrst impression of the space can be defined as a pleasure moment. Hereby, The blue extract of light blending with yellow light enhances the space and brings in the climax of the space. The pleasure factor hereby is highlighted in image (2.1). AROUSAL: The crowning moment of the entire space, which comes out to be an unplanned surprise element brings in the excitement and enhances the space with a different idea, imprinting it into people’s memory. Hereby, the skeleton of a blue whale, suspended from the ceiling is highlighted by blue flood lights, placed on the walls, throwing light directly on the white skeleton. DOMINANCE: The controlling or governing factor which makes people go and experience it, and helps to bring in the driving factor of the space which rests in the memory of the people which acts as a take away for them. Hereby, the immersive display exhibition in the end allows us to interact with technology to experience the past. It engages people and helps to deliver the information more acceptingly. John Russel divided experience into 3 parts, i.e. pleasure, Arousal and Dominance, which are described here by taking the case of 3 spaces. Pleasure by Central area, Arousal by blue whale skeleton and Dominance by immersive display of underwater animals. Below mentioned are the factors showing pleasure, arousal and dominance factors in lighting and how it is achieved. PLEASURE

Yellow light with a play of Blue Light

Highlighting certain elements

Showing massiveness

Mesmerizing effect

AROUSAL

Blue Light

Highlighting skeleton

Showing Delicacy

Simulative effect

PLEASURE

Using Technology

Immersive display

Showing narration

Collaborative effect

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Peak-End Theory by Kahneman__________________________________ Kahneman discovered 2 states, experiencing self and narrating self. and the 3rd is making memories through peak-end moments. Here the space is experienced by ‘narrating self’. The peak moment is captured by the central hall while the end moment is captured by an immersive display of underwater life. NARRATING SELF: Narrating self translates the scene to the visitors the way it needs to be narrated. When light falls on an object, its true nature of object is visible. It is revealed by various factors like texture, color etc. 1. A bone where diffused light of CCT of 4000K has lighted the base and spot lights of 3000K from the top supports that. 2. A stone, lighted with diffused light from base of CCT 4000K and a light track following the outline of base with spotlights from top. 3, 4. Dinosaur lighted by integrated spotlight from the display unit, with a diffused base and spotlights of 3500K from top.

PEAK MOMENT: The most memorable experience or the experience which makes an impact in the entire journey can be defined as a peak moment. Hereby, the series of arches led to the central area which acts as the pivot point in the entire museum. The warm lights used to light the side walls to create depth, as well the skeleton of blue whale makes the space drop an impact at first glance.

Satisfaction

END MOMENT The memorable ending makes the entire experience fruitful. The end experience plays a major role to rate the museum positively. Hereby, the end moment is expressed by an underwater exhibition space with immersive display, making an impact by small LED lights, resembling underwater Bioluminescence, by providing the feeling of walking in it. Kahneman has described peak end moments to create memories. Below shown is the 2 graphs depicting the peak-end moment. First is the overall experience of the space and second is the experience of objects displayed captured by peak-end moment lens. The peak moment is registered by the central hall where the space is light by warm white color and the blue whale skeleton is lighted in blue color. While the end moment is shaped by the immersive experience of underwater life which engages people in searching for more information.

End

Peak

Time

(a) Lighting in Museums | 106

(a) Peak end moment graph for museum experience

Kaplan & Kaplan’s Theory________________________________________ Kaplan & Kaplan used 2 keywords to capture the essence of these environment aspects that are driven by preference. i.e. Familiarity-Unfamiliarity and coherence-complexity. Hereby, the central hall shows unfamiliar environments with a high preference while other space like object display and circulation space shows a coherent quality. FAMILIARITY - UNFAMILIARITY: The familiarity index increases by arranging layout resulting in a mundane environment and simplicity in space. The familiar atmosphere makes the space perceive by itself without experiencing. Hereby, the lined up arches makes the space look familiar and has a high preference, which brings up an accepting response. The lighting enhances these elements by lighting columns and arches and flood lights for whale. COHERENCE-COMPLEXITY: The coherence is created by lighting up the most important thing, more elaborately, with a light source. While complexity is used to highlight small details and fine elements. Coherence is created by the ambient light falling on the display unit, while complexity is created through display unit lights, falling on object. Observations: 1. The environment provides curated clues to interpret the environment, likely the lined up display units in individual pockets. The organized circulation behind those displays, leading to the painting hall. 2. There are some familiar elements which allow you to make mental matches with prior experience, likely the central hall being the pivot point to all objects displayed surrounding it. There are other unfamiliar objects, likely the lined up arches and the suspended whale structure, which has been focused through light on the walls. 3. The sense of environment which directs to likeness and creates a positive preference to go around the space and explore the objects displayed. The curation is made different by highlighting (a) Coherence in object dislay the ceiling which gives directionaly in space. (b) complexity in object display unit Hence, the space is shaped by familiar yet have a high preference resulting in an accepting approach. It has a more coherence value Coherence then complexity in curating the experience. Complexity

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Richard Kelly’s Theory______________________________________________ Richard Kelly had categorized light in 3 tenets, i.e. focal light, brilliant light and ambient light. Here these lighting tenets have been implied in each space which are explained below. Yellow being focal light, orange being ambient light and blue being brilliant light while red being the source of natural ambient light. CENTRAL HALL: This hall has 3 tenets of light Ambient Light: To highlight architectural surface in a discreet manner and Natural diffused light from ceiling for creating ambient luminance. Focal Light: Highlighting object by bright blue spot light and direct lighting. Brilliant Light: Highlighting blue whale skeleton in blue color light

CIRCULATION: Circulation has 2 tenets of light. Ambient: highlighting ceiling by uplighter light. It accentuates the ceiling and guides the way. Focal Glow: It emphasizes the function of the space by guiding entry and exit in circulation.

PAINTING GALLERY: It has used only one tenet of lighting. Ambient Lighting: As paintings require a specialized light which do not damage the art piece, so diffused light is used by keeping the contrast level low. It also avoids shadows. its rendering color is similar to natural light. Its light is illuminating from a white translucent surface, integrated in the ceiling. OBJECT: This space has 2 tenets of lighting Focal Lighting: it focuses on objects from different angles as shown in diagram with yellow color. Ambient Lighting: Used to create an additional supportive light. Here there is only one source of ambient light that is used in the entire space which is on the column and lighting up the ceiling Here 5 different focal light and 2 different ambient light are used for a giraffe statue. Hence, Richard Kelly’s three tenets of lighting are used in the space according to the requirement. Main hall has all three tenets while circulation and object display has two tenets and a painting gallery with one tenant. Lighting in Museums | 108

ELEMENTS OF ILLUMINATION__________________________________ Here the element of illumination includes A vertical surface in central hall, Object display and ceiling lighting. yellow depicting the light fall, red being the focal light source and blue being the ambient light. VERTICAL ILLUMINATION: The facade in the central area is lit by yellow spot lights, shown with red color while it also throws blue light on the skeleton which is shown with blue color. The blue wash of color on facade is the spillover light from the opposite side lighting the skeleton. Blue light is in the direction of lighting the skeleton while yellow light are wall washers and throws light directly at the architectural element. (a) One of the vertical wall on Central Hall showing ambient light with flood light in blue and focal spot in red.

OBJECT DISPLAY: The pockets are individually light according to the object’s properties. Here the lighting is on a stone piece. Two spotlights form the ceiling are focused on the stone from either side. There is an ambient light, uplighted on the ceiling while brilliant light is on the base of the object. The diffused box helps supportive light to light the object and highlight its texture. (a) Object display area with focal light and ambient light highlighting the ceiling as well the grooved window at back wth uplighter ambient light.

CEILING: There are two types of lighting in circulation area i.e. Ambient indirect light on the ceiling and direct focused lighting on the floor. The ceiling is lit by individual flood spot lights shown in red color. It lights up the circulation space in a linear fashion acting as a way defining system. There are focused down lights as shown in blue color which provides direct light on the floor. (a) Circulation area with red being ambient light, highlighting ceiling with uplighter and blue being focal down light, highlighting floor.

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ATMOSPHERIC LIGHTING _____________________________________

Central hall

Object display

Painting gallery

Shringara Rasa

Shantha Rasa

Hasya Rasa

Adbhuta Rasa

Functional

Magnificent

Calm

Convivial

CENTRAL HALL The combination of blue and yellow spot lights, in the central area, with multiple indirect light sources creates a nonuniform atmosphere creating visual hierarchy and highlighting arches and other small elements results into Shringara rasa and Adbhuta rasa. According to Louis Clair’s approach, it reflects magnificent environment. OBJECT DISPLAY The display is lit evenly with soft and diffused warm upward light for the base resulting into Shantha rasa and tiny track spot light highlights the detailing object. according to Louis Clair’s approach, it reflects Functional and calm environment. PAINTING GALLERY Neutral white, diffuse, uniformly spread light from the ceiling lights up the painting gallery. The subtle light in the space results in Hasya rasa. According to Louis Clair’s approach, it reflects Functional and convivial lighting environment.

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INFERENCE OF APPROACH TO APPLIED THEORIES

JOHN FLYNN Theory of lighting Mode Central-peripheral Uniform-Non Uniform Warm-Cool Bright-Dim CENTRAL HALL

OBJECT DISPLAY

PLEASURE

AROUSAL

PAINTING GALLERY

CIRCULATION

JOHN RUSSEL P.A.D Theory Pleasure: The mesmerizing effect or the first impression of the space Arousal : The crowning moment of the entire space, which comes out to be an unplanned surprise element brings in the excitement and enhances the space, imprinting memory. Dominance: The controlling factor which makes peo ple go and experience it and helps to bring the driving factor in space.

DOMINANCE

KANHEMAN Creating Memories Peak Moment: The most memorable experience or the experience which makes an impact in entire journey End Moment: The memorable ending makes the entire experience fruitful. The end experience plays a major role to rate the museum positively.

PEAK MOMENT

KAPLAN & KAPLAN Environment building Familiarity: The familiarity index increases by arranging layout resulting into mundane environment and simplicity in space. The familiar atmosphere makes the space perceive by itself without experiencing Coherence-Complexity: The coherence is a curated form of experience. It has a particular trail to see objects and one space leads to other, giving less flexibility in space

FAMILIARITY

COHERENCE

COMPLEXITY

RICHARD KELLY 3 Tenets of Lighting Focal Light Ambient Light Brilliant Light CENTRAL HALL

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OBJECT DISPLAY

PAINTING GALLERY

CIRCULATION

CAPTIONS •

•

Object: Central-Non UniformBright-Warm. Focused Lighting

•

Painting: Central- UniformBright-Cool. Diffused Lighting

•

Circulation: Peripheral- NonUniform- Moderate brightWarm. Ceiling Lighting

•

Pleasure: the climax, created by soothing blue and yellow lighting and bringing a pleasure in perceiving the space. Arousal: Skeleton of blue whale becoming the crowning point of the experience where that element imprints its image in memory. Created by Dominancy: engaging people in immersive display

•

Peak Moment: The entrance opens up the gate to central area, where the soothing lighting created a memorable experience. End Moment: The ending is shaped by an immersive of underwater experience Bioluminescence, by providing the feeling of waling in it.

•

Familiarity: The arches in X & Y axis makes the poles apart form and adds preference in visiting the space.

•

Coherence: The object display space is lighted by coherently, focusing in the display unit. Complexity: The display unit shows complexity in lighting the object.

•

Central hall: Peripheral-N on UniformDim-Warm. Red indicating natural light

Yellow being focused light on objects. Orange being ambient light, red being natural light source for ambience and blue being the light of brilliance for each space.

Lighting modes by John Flynn • Peripheral lighting is used to create an ambience in central hall • Focused central lighting is used to light objects • Diffused uniformly spread light is used to light paintings • Circulation is lit by ceiling light. Diffused, peripheral lighting is used to light ceiling.

Pleasure-Arousal-Dominance • The play of light i.e. the blue light adds in the charm in space and enhances the entire space • The ceiling hanging skeleton, with blue light becomes the element of surprise. • The interactive display controls the mov ement and leads to certain dominancy in space.

Peak – End Moment • Peak memory, which hereby is conceived by the ambient light in central area. • End memory becomes the thing which completes the experience, which hereby is achieved by involving people in immersive display underwater experience.

• Familiarity-Unfamiliarity: The scene created by familiar environment and high preference makes an accepting response • Coherence: The spot lights form the ceiling creates an ambience and lights the display. • Complexity: The tiny spot lights, highlight small details, the diffused light base creates ambience in the space.

Richard Kelly • Spotlights for focal light on objects, Flood light and up light wall washers for ambient light and wide flood for whale sculpture. • Diffused light in painting section • Lighted ceiling acting as a way defining with up lighter light.

OBSERVATION

IMPACTS

APPLICATION

•

Enhances the elements of architecture Enhances the object by focusing it Enhances uniformly over painting to avoid reflections Giving directionality in itself.

• • •

•

Helps to create a mesmerizing effect. Enhances the skeleton to make it visually impactful Enhancing interactivity and creating a medium to connect with technology and history.

• •

• • •

•

Enhances the first impression and acts as a tool of imprinting memory. Enhances the scene of underwater life with small LEDS giving a sensorial experience.

The familiar environment makes the environment more friendly to explore the space. Coherence gives a spatial perception to the space. Complexity adds detail to the space.

Richard Kelly • Wall washers adds change the blank wall. • Diffuse delight enhance the entire gallery area to avoid direct reflection • The highlighted ceilings adds value to the heritage ceiling.

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•

Peripheral Lighting in heritage building helps to create a sense of placement and enhances the historic elements. Non uniform lighting creates a depth by emphasizing on certain element likely the arches in this case for central area.

Play of color by creating depth or highlight some elemnts using color lights can create a pleasure in heritage building. By involving visitors in a particular space or creating an environment engaging people in it leads to dominancy

By reflecting the identity of heritage museum and shaping it into a wow factor can create a peak moment. Impactful end to a museum can create a memorable impression or end memory.

High preference with high familiarity can lead to an accepting approach. The coherenc e can be created by lighting up immensely, while complexity can be created by lighting up small details.

•

• • •

Highlighting an object can be achieved by focal light. Highlighting architectural element can be achieved by ambient light. Highlighting some sparkle point or attention catching point can be achieved by brilliant light.

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5.1.2 TANGIBLE APPLICATION INTERNATIONAL APPROACHES German Ivory Museum

GERMAN IVORY MUSEUM, GERMANY CASE STUDY 2

Location: Erbach, Germany Established in 1966 Re-opened in 2016 Architect: Sichau and Walter Architects Lighting Designer: Licht Kunst Licht

• • • • • • •

European Museum of the year Awards IALD Awards (Radiance Awards 2018) Darc Awards, 2017 (Best Interior Scheme-Low budget) Indoor Lighting Winner 2018 Lighting Design Award (Integration Project of the year 2018) A|L Light and architecture design awards,2017 (Commendable Achievement) Codega International Lighting Design Prize (Lighting design Special mansion) 2017

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Central Hall Objects Paintings

Zoaning diagram of German Ivory Museum

The German Ivory Museum is spread out into 37,000sqft. The case of 3 spaces is taken. 1. The satinated display: The showcase panels which are satinates in the lower 1/3rd part are illuminated with edge lighting emitted from the base. The satin glass becomes clearer on the top. The edge lighting provides soft lighting, creating an ambiance. The converters, for edge lighting of satinated glass as well as spot lighting is hidden in the cavity on the base of the showcase. 2. The walkay: The passable walkway and lower balustrade are covered with red leather, which has a concealed LED light band in the upstand. The walking surface becomes the free floating path in an intangible spatial envelope. 3. Cupboard Display: The historic wall cabinets are used to display small objects. The exhibits are accentuated with linear lighting concealed in the furniture. The LED strips are arranged horizontally at the top as well vertically running downward. The luminaries are positioned such that an optimum of illumination combines with a minimum visibility of the source of light. 4. The Last space: The last room consists of the unprocessed elephant and mammoth tusks, which makes the controversial aspect of exhibition theme noticeable. The showcase is lighted by spotlights, the edge lighting and the walkway illumination. Warm white light color is used for coordinating the dominating shades of red of the showcase bases and the access walkway.

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John Flynn’s Theory John Flynn’s 4 lighting modes i.e Uniformity- Non uniformity, Central-Peripheral, Bright-Dim, Warm-Cool lighting are described by taking the case of 3 spaces, i.e. Cupboard type display, Frosted glass display and circulation space.

FREE STANDING DISPLAY: Uniform: Even though having spotlights it functions as a uniform environment to highlight the objects inside that case. Central lighting: To directly focus on the object. Bright: To catch on the small carved details on ivory. Warm : Warm lighting on an object creates an engaging environment.

WALL MOUNTED DISPLAY: Uniform: To light the objects without creating hierarchy visually. Peripheral lighting: To get the light spread evenly amongst all 3 sides. Bright: To catch on the small carved details on ivory. Warm : Warm lighting on an object creates an engaging environment as well creates a contrast with the surrounding.

CIRCULATION Non Uniform: To focus on the display units and creating a trail of preference. Peripheral lighting: to define the flow of circulation through a concealed LED strip light. Dim: To focus on the display units while giving the gist of circulation. Warm : Creates an inviting passage Hence, the lighting modes used in these museums are articulated according to the requirement and makes the space enhance its character according to its function. Below mentioned table describes lighting quality and the type of lighting mode used in each space. Space

Lighting Quality

Uniform/Non uniform

CentralPeripheral

DISPLAY 1

Focused light on individual object

Uniform

Central

Bright

Warm

DISPLAY 2

Linear lighting concealed in furniture

Uniform

Peripheral

Bright

Warm

CIRCULATION

Concealed LED Light band

Non uniform

Peripheral

Dim

Warm

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Bright- Dim

Warm- Cool

Pleasure-Arousal-Dominance theory by John Russel John Russel divided experience into 3 parts, i.e. pleasure, Arousal and Dominance, which are described here by taking the case of 3 spaces. pleasure by first impression, Arousal by a passage like area and Dominance by circulation area.

PLEASURE: The first impression created on entering the space, which is having high contrast and a curated yet narrative experience makes the moment pleasurable. The black background, with a lighted display unit surrounded by bright red circulation tempts to step up on it. This walkway illumination stands out with minimum visibility of light source. AROUSAL: The most memorable moment of the entire space, bringing some type of excitement which comes out to be an unplanned surprise element and enhances the space with a different idea, imprinting it into people’s memory. Hereby, the display unit 5 is placed in a narrow passage, cladded with mirror, giving it an internal reflection creating an infinity and making visitors go and experience that space. DOMINANCE: The governing factor which cutares the entire space and somehow compels to follow that. Hereby, the circulation acts as a dominance such that it runs around the display and one has to follow that circulation path to cover up the entire space. it doesn’t give freedom to revisit the display directly. One has to come over to that display by following the red marked circulation path. John Russel divided experience into 3 parts, i.e. pleasure, Arousal and Dominance, which are described here by taking the case of 3 spaces. Pleasure by the entrance or first impression, Arousal by the narrow reflective display and Dominance by circulation path. Below mentioned are the factors leading to Pleasure, Arousal and Dominance for german ivory museums. PLEASURE

Black and red contrasting ambience

Highlighting walkway and display unit

Focusing on the object

AROUSAL

Mirrors and shimmers

Reflective mirrors creating massiveness

Showing Infinity in space

Simulative effect

DOMINANCE

Curated walkway

Self illuminated

Showing direction

Narrative experience

Mesmerizing effect

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Peak-End Theory Kahneman has discovered 2 states, experiencing self and narrating self. and the 3rd is making memories through peak-end moments. Here the space is experienced by ‘narrating self’. The peak moment is captured by the connected walkway. There is as such no end moment in this space as it has a uniform experience, walking through red circulation and enhancing display units through the space. PEAK MOMENT: The experience which imprints by creating a special impression can be termed as peak moment. Here the entire space is blacked out. The only highlight element is red circulation path and lighted display in between. The peak moment is created where the circulation path is visible, wrapping display unit.

Satisfaction

NARRATING SELF: Narration is created by display units, which makes people narrate the entire thing in an interesting way rather than a linear arrangement of objects side by side. Here the display with CCT 3500K narrates the white ivory objects, revealing its texture and color within a specialized satinated glass and the bright red leather circulation with concealed LED strip leading towards each display unit. It creates an engaging experience which helps visitors to engage in the whole museum space. Kahneman has described peak end moments to create memories. Below shown are the 2 graphs depicting the peak-end moment. First is the overall experience of the space and second is the experience of objects displayed captured by peak-end moment lens.

Peak

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End

The graph represents the peak-end moment of the experience. In German ivory museums, there are multiple peak moments by which there is no significant end moment. The experience drops and rises simultaneously as shown in the graph. It is uniformly spread out in the entire exhibition.

Kaplan & Kaplan’s Theory Kaplan & Kaplan used 2 keywords to capture the essence of these environment aspects that are driven by preference. i.e. Familiarity-Unfamiliarity and coherence-complexity. Hereby, the layout shows unfamiliarity in an environment with a high preference while the circulation reflects the central hall shows unfamiliar environment with a high preference while other spaces reflect complexity in their experience by involving people.

FAMILIARITY - UNFAMILIARITY: The unfamiliarity index increases by arranging layout resulting into something different and unique in space. The unfamiliar atmosphere makes the visitors explore the space. Hereby, the red circulation path has its unique identity and the satinated displays in German ivory museum makes it different from other display units. Hence it follows an unfamiliar environment with high preference, resulting in an interesting experience. COHERENCE-COMPLEXITY: The complexity is created by highlighting and focusing on the small details. The display unit has 2 types of light. One focusing on the object and other for creating an ambiance. The circulation is created by a fine line of LED strips passing along the space. Hence the complexity factor is more dominant then the coherence factor. Coherence Complexity

Observations: 1. The environment provides enough clues to head forward in the museum and allows to interpret the space accordingly. 2. There are not enough familiar elements in the environment that allows mental matches to prior experience. It has a whole new set of experience, bringing in high priority with an interesting response of visitors. 3. The space has certain complexity in the environment which involves people and is able to quickly make a sense of an environment which will develop a positive preference for the environment. Hence, the space is shaped by unfamiliar environment yet having a high preference resulting into an interesting approach. It has a complexity more dominant in experience which involves people and makes the space stand out amongst others.

Richard Kelly’s Theory_____________________________________________ Richard Kelly had categorized light in 3 tenets, i.e. focal light, brilliant light and ambient light. Here these lighting tenets have been implied in each space which are explained below. Yellow being focal light, orange being ambient light and blue being brilliant light. The space has a significant amount of darkness, so limited sources of light are added. Not all spaces have all 3 tenets of lighting.

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FROSTED DISPLAY: This display unit has 3 tenets of light Ambient Light: Lighting the base of display to spread light in the entire display unit, making it bright enough to stand out in the environment. focal light: Focusing on the object to highlight its craving and detail Brilliant Light: To create the lighted base which acts as a backdrop for objects. It has integrated ambient and brilliant light. CUPBOARD DISPLAY: This display unit has 3 tenets of light Ambient Light: Created by circulation space marked in orange.

focal light: Edge is lighted by strip light which creates the focus on the objects in the cupboard Brilliant Light: Concealed LED strip, shown in blue color acts as a light of brilliant CIRCULATION: Circulation has 2 tenets of light Ambient Light: created by the spill of brilliant light, shown in orange color. Brilliant Light: Profile light acts as a light of brilliant light is shown in blue color, which defines the way.

Hence, Richard Kelly’s three tenets of lighting are used in the space according to the requirement. The frosted display has all 3 tenets of lighting, cupboard display has just one tenet of lighting while circulation space has 2 tenets of lighting.

Rogier Van Der Heide Theory _________________________________ Rogier Van Der Heide talks about the theory of darkness and lightness. Darkness is as necessary in the space as lightness. The balance amount of both can create the required environment. The German Ivory museum has a significant darkness compared to lightness. DARKNESS: The space has a huge amount of darkness, creating a strong contrast. The entire space is darked while the element of circulation and display unit are the only thing which is lighted in the entire environment. First figure shows the amount of darkness and amount of lightness in the space. In the second image the while color depicts the darkened space in the entire museum. Hence the above 2 diagrams depicts that the ratio of dark space is much more than the lighten space in whole museum. The black color in second image reflects the amount of light while white represents the darkness.

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William Lam’s Theory William Lam has derived 4 context oriented lighting i.e. Activity based needs, biological needs, orientation and discernibility. Their stages of perception are explained by below plans of German Ivory Museum. The first image is the original image while the second had a layer of there context based perception. ACTIVITY NEED: The lightings placed in the display unit are lighting up the display, merely used for activity based purposes. The context is complete;y darkened out so that it accentuates the display unit. BIOLOGICAL NEED: The space has a stimulative perception as the entire thing is blacked out white the thing which needs to be seen by people are highlighted. It has eliminated all the sources of light which creates a visual noise. ORIENTATION: Though the space has no connection with outer context, it has a strong horizontal clue. The space has a clear vision of direction. DISCERNIBILITY: The space has an enclosed surrounding and the external unlighted things are completely sublet emphasizing directly on the objects. Hence these 4 context based lighting makes the space more accepting and delivers the desired result. All these 4 lightings enhances the space and accentuate the thing which needs to be highlighted.

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ELEMENTS OF ILLUMINATION__________________________________ Here the element of illumination includes A vertical surface in central hall, Object display and ceiling lighting. yellow depicting the light fall, red being the focal light source and blue being the ambient light. OBJECT DISPLAY 1: The displays are lit vertically, focusing on the ivory object with multiple spot lights. This vertical displays are free standing displays in the space, which pivots the circulation. The downward concentrating light makes the box appear bright and the base which acts as a sparkle point. OBJECT DISPLAY 2: The displays are lit by peripheral strip lighting moving towards the center and evenly spreading in the display. It lits the vertical surface by series of linear display units. It is well lit on the edge while it fades a little while reaching the center. Red concealed LED light passes through the base of display as shown in diagram.

OBJECT DISPLAY 3: There are 2 types of lighting used in this space. The hanging downward concentrating spot light is used to light the raw mammoth teeth. The dark environment hides the hanging light is below eye level such that no light source is visible. To define that space, concealed LED strip light is added on periphery which acts as a way guide.

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ATMOSPHERIC LIGHTING_______________________________________

Wall mounted display

Free standing display

Floor mounted display

Shringara Rasa

Adbhuta Rasa

Functional

Convivial

Veer Rasa

Playful

Convivial Mysterious

WALL MOUNTED It has a warm white peripheral nonuniform lighting, highlighting the objects, and defining the display unit. The red color compliments the space and creates a mood of Veer Rasa. According to Louis Clair’s approach, it creates a Functional lighting. FREE STANDING DISPLAY The Ivory pieces are brightly lit by the soft white soft lights. The brightly lit base of display which in the dark context creates a floating effect gives an element of surprise and creates a mood of Adbhuta rasa. According to Louis Clair’s approach, it reflects Convivial and playful environment. FLOOR MOUNTED DISPLAY: The floor mounted display has warm white direct focal light, with a hidden light source, falling on the red background creates a mood of Veer rasa and Adbhuta rasa. According to Louis Clair’s approach, it reflects convivial and mysterious environment

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TEXTURE

COLOR

COLOR TEMPERATURE

CONTRAST

BRIGHTNESS

VISIBILITY ATTRIBUTE

BACKGROUND COLOR

LIGHT COLOR

COOL

LOW

WARM

HIGH

WALL MOUNTED DISPLAY

BACKGROUND COLOR

LIGHT COLOR

COOL

LOW

WARM

HIGH

FREE STANDING DISPLAY

BACKGROUND COLOR

LIGHT COLOR

COOL

LOW

WARM

HIGH

FLOOR MOUNTED DISPLAY

BACKGROUND COLOR

LIGHT COLOR

COOL

LOW

CIRCULATION

WARM

HIGH

• Front lighting does not enhance the texture but enhances the color • Top direct light enhances the texture and creates a shadow to give depth. • Light source below eye level does not emphasize much on texture. • A red LED strip lights the floor, which seen at an angle emphasis on the texture.

• The light color vs the background color forming a composition as well determines the frame of vision.

• Yellow light makes a comfortable and warm environment. • Warm white light, creating inviting and intimate environment. • Natural white light makes a calm and convenient environment. • Cool white light creates a bright and vibrant lighting.

• High contrast level makes a divergent atmosphere creating a sense of curiosity. • Moderate contrast level makes the space visually balanced. • Low contrast level makes a convergent atmosphere creating a sense of spaciousness.

• Less brightness in a museum space makes visitors to concentrate directly on the lighted object. • Moderate brightness allows visitors to concentrate on objects as well on architectural features which are being highlighted by light. • High brightness display the space directly without visual hierarchy.

OBSERVATIONS

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DISTRIBUTION

• Visual Hierarchy governs the eye movement. • Here yellow color catches the first attention followed by red and blue. • Wall mounted display: Focused lightcirculation light • Free standing: Ambient lightfocused light, circulation. • Floor mounted: Focused lightcirculation light • Strip light running on the periphery of the glass panel displaying small objects in the display unit. • The downlighter spot lights, lighting ivory pieces while the frosting on the periphery avoids glare and reflection. • Down lighter hanging lights, with hidden source is used to light floor mounted display • A concealed red LED strip to define circulation

HIERARCHY

FUNCTIONAL LIGHTING

LAYOUT

• Upward diffuse is used for highlighting the wall or an element which requires uniform lighting. • Downward direct is used to focus on particular object i.e. displayed objects • Downward diffused is used to create a non hierarchical environment or uniform environment.

REFLECTION

• Wall mounted display has diffused light, stripped to the periphery of the unit, as shown in yellow in order to achieve a light washed surface. • Objects are displayed in individual free standing glass box, where spot lights are located on top, targeting each art piece. • Floor mounted display has direct pot light, hanging from the roof, concentrating directly on the objects display on floor mounted display unit. • Circulation space has a LED light strip passing on its periphery, crating a diffused red light, falling on the circulation path, defining the circulation.

• The sparkle moment is crated by the red LED strip passing below the display units. • It is created by the brightly lit base of free standing display, creating a floating effect. • The LED strip in the periphery, bounding that area acts as a sparkle point in floor mounted display unit.

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5.1.3 TANGIBLE APPLICATION INTERNATIONAL APPROACHES Kunsthistorisches Museum

KUNSTHISTORISCHES MUSEUM, AUSTRIA CASE STUDY 3 Location: Vienna, Austria Established in 1891 Re-opened in 2011 Architectural style: Neo Baroque

• • • • • •

Winner Lighting design Project, 2014 (World Interiors news annual award) Award of merit 2013 (IES Illumination awards) Illuminating engg society of north America Winner Lighting design and people’s choice award 2013 (AZ Awards) Azure magazine, Canada Prize winners of the daylight jury award 2013 ( the german light design award) Winner silver (Cultural) 2012 ( Ilumni infinity awards)

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The Kunsthistorisches Museum (Art history museum) was built in 1891 near the imperial palace, to build an exclusive space for collections of the imperial family. With the vast array of eminent works and the largest Bruegel collection in the world, it is considered to be the most eminent museums in the world. The museum, with a large rarity from the former chambers and cabinets of curiosity, the museum reopened in March 2013. The collection becomes one of the most significant of its kind in the world and displays the artworks of the Middle ages, the Renaissance and the Baroque era. The highlights are the collection of Emperor Kaiser Rudolf 2, the exotic complex and famous ‘Saliera’. It is housed in a monumental building on Ringstrasse museum were Ringstrasse, Vienna, which was built by emperor Franz Joseph 1 as part of his development of the Austro Hungarian capital in 1858. In fact two Ringstrasse museums were constructed in the period 1872-1891, Renaissance style structures designed by the architects Gottfroied Semper and Karl Freiherr von Hasenaur. The establishment of this museum was made possible to consolidate the various Habsburg collections in one location and open in to general public. This museum has a core permanent collection 16th century portrait and armour collections of Archduke Ferdinand of tyrol, painting and sculpture of Emperor Rudolph and 17th century collection of Baroque paintings. It also consists of Egyptian and near eastern collections, Greek and roman Antiquities, Medieval art, decorative art, sculptures, coin cabinet and the library. Here the 3 spaces have been discussed to study the light quality: 1. Greek gallery 2. German Painting gallery 3. Kunstkama Musuem

Zoaning diagram of Kunsthistorisches mueusm where Kunstkama musuem and greek gallery are located on 0.5 level

Zoaning diagram of Kunsthistorisches mueusm where German painting hall is located ion 1st floor.

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John Flynn’s Theory ____________________________________________________ John Flynn’s 4 lighting modes i.ee Uniformity- Non uniformity, Central-Peripheral, Bright-Dim, WarmCool lighting are described by taking the case of 3 spaces, i.e. Roman and Greek antiquities display, Painting gallery and Circulation space. Central lighting: For focusing on the object Non Uniform: Central object has focused spot light while ceiling lighting creates an ambiance. Dim: To concentrate directly on the focused display piece. Warm: Creates a sense of relaxation and attracts you to explore more.

OBJECT LIGHTING:

Central lighting: For creating even lighting. Uniform: For highlighting each painting equally. It has a diffused soft light from the ceiling to avoid shadows. Bright: To observe the small details displayed in the hall. Cool: Creates a sense of spaciousness.

GALLERY LIGHTING:

Peripheral lighting: For highlighting historic elements. Non Uniform: For putting emphasis on ceiling and focusing on the display piece. Bright: Spot and ceiling light along with the natural light merge and bring it to a well lit space, inviting to explore. Warm: Creates a welcoming passage. Hence, the lighting modes used in these museums are articulated according to the requirement and makes the space enhance its character according to its function. Below mentioned table describes lighting quality and the type of lighting mode used in each space.

CIRCULATION LIGHTING:

Space

Lighting Quality

Uniform/Non uniform

CentralPeripheral

DISPLAY

Direct focused light for highlighting element

Non- Uniform

Central

Dim

Warm

PAINTINGS

Diffused evenly spread light along with some direct light.

Uniform

Central

Bright

Cool

CIRCULATION

Direct focused light for idols and diffused for ceiling.

Non uniform

Peripheral

Bright

Warm

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Bright- Dim

Warm- Cool

Pleasure-Arousal-Dominance Theory by John Russel____________ John Russel divided experience into 3 parts, i.e. pleasure, Arousal and Dominance, which are described here by taking the case of 3 spaces. Pleasure by Central area the entrance , Arousal by the grand staircase leading to exhibition and Dominance by solving the story behind each art piece for Kunstkammer museum. PLEASURE: The first impression of the space can be defined as a pleasure moment. Hereby, the majestic entrance, leading to the museum with a huge staircase makes visitors go and explore the museum. The intrinsic details in the roof are being highlighted and the vast entrance gives an inviting feel to the museum, becoming a pleasurable moment. AROUSAL: The crowning moment of the entire space, which comes out to be an unplanned surprise element brings in the excitement and enhances the space with a different idea, imprinting it into people’s memory. Here the grand staircase with detailed ceiling and crafted columns makes a huge impact visually, leading to the museum door. The grandness is becoming the arousal factor in this museum. DOMINANCE: The controlling or governing factor which makes people go and experience it, which rests in memory can be termed as a dominance factor. Here the Kunstkammer museum, a museum within itself, allows you to find the mystery of objects displayed. The museum does not say its details, rather visitors have to find it through puzzles and hints, making them perfectly involved in it. John Russel divided experience into 3 parts, i.e. pleasure, Arousal and Dominance, which are described here by taking the case of 3 spaces. pleasure by entrance, Arousal by grand staircase and Dominance by finding the mystery of objects displayed. Below mentioned are the factors showing pleasure, arousal and dominance factors in lighting and how it is achieved. PLEASURE

The scale

The vast entrance

Highlighted ceiling

Majestic effect

AROUSAL

Grandness

Splendid staircase leading to exhibition.

Highlighting ceiling, columns and arches.

Ostentatious effect

DOMINANCE

Mysterious way of finding story

Engaging and involving people

Narration through clues

Collaborative effect

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Peak-End Theory by Kahneman__________________________________ Kahneman discovered 2 states, experiencing self and narrating self. and the 3rd is making memories through peak-end moments. Here the space is experienced by ‘narrating self’. The peak moment is captured by central hall while the end moment is captured by immersive display of underwater life. NARRATING SELF: The display designed for objects are customized according to the object’s characteristic. it narrates the object itself by revealing its texture and color. Here 4 images are of display units of different objects. 1. Kunstkammer section, multiple spot lights of CCT 4000K were used to light single object, using McCandless’s principle of light. 2. Egyptian display where direct light form top of CCT 4500K falls in a linear fashion 3. Ancient Rome and Greek gallery where individual spot light is dedicated to each idol of CCT 4000K creating a soft white light , focusing directly on the object.

PEAK MOMENT: The most memorable experience or the experience which makes an impact in the entire journey can be defined as a peak moment. Here the majestic entrance become the peak moment due to its grandness. The narration has been explained by the uplighted diffused highlighted ceiling which tells the story about the historic building by focusing on the small carved details through light. ceiling paintings as well the columns. END MOMENT The memorable ending makes the entire experience fruitful. The end experience plays a major role to rate the museum positively. Here, the end moment is expressed by engaging people in finding mystery behind the story of each character. The displayed elements have been arranged through multiple small spotlights placed far off the object, making it more involving and creating a sense of ambiguity. Kahneman has described peak end moments to create memories. Below shown is the overall experience of the spaced captured by peak-end moment lens. Satisfaction

This museum has a grand entrance, showcasing the story of the building, its carving and paintings all in first impression, making it the peak moment of this museum. Museum consists of 4 different zones, i.e. Epgytian and east Asian, roman and Greek antiquities, Paintings and Kunstkammer museum. Each section has its own storytelling, while Kunstkammer museum tends visitors to search for the story, making it the memorable end moment of this museum.

Peak

End

Time

(a) Peak end moment graph for museum experience

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Kaplan & Kaplan’s Theory Kaplan & Kaplan used 2 keywords to capture the essence of these environment aspects that is driven by preference. i.e. Familiarity-Unfamiliarity and coherence-complexity. Hereby, the layout shows unfamiliarity in an environment with a high preference while the circulation reflects the central hall shows unfamiliar environment with a high preference while other spaces reflects complexity in their experience by involving people. FAMILIARITY - UNFAMILIARITY: The unfamiliarity index increases by arranging layout resulting into something different and unique in space. The unfamiliar atmosphere makes the visitors explore the space. Here the two grand staircase leading to the museum makes this space stand out from others. It has 2 entrances, primary which has a majestic entry while the secondary entrance shows grandness. COHERENCE-COMPLEXITY: When objects are lighted enormously through on light, and which doesn’t focus on the small details factors leads to coherence. The display in kunstkama museum has a coherence dominant display, where the lighting directly falls on the object and fine details in the periphery are out of focus. Coherence Complexity

Observations: 1. The environment does not provide enough clues to head forward in the museum to directly interpret the space. The complexity is created due to the layout in with it is exhibited. 2. There are not enough familiar elements in the environment that allows mental matches to prior experience. It has a whole new set of experience, bringing in high priority with an interesting response of visitors, from the grand staircase to Kunstkammer museum, all has a specific identity and has no resemblance to prior match. 3. The space has certain complexity in the environment which involves people and is able to quickly make a sense of an environment which will develop a positive preference for the environment. 4. Coherence is visible in some spaces where it directly addresses the next space to the circulation space, directing people to move in a certain fashion. Hence, the space is shaped by an unfamiliar environment yet having a high preference resulting in an interesting approach. It has a dominant coherence in displaying the objects while the complexity has been subleased in Kunstkammer museum.

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Richard Kelly’s Theory____________________________________________ Richard Kelly had categorized light in 3 tenets, i.e. focal light, brilliant light and ambient light. Here these lighting tenets have been implied in each space which are explained below. Yellow being focal light, orange being ambient light and blue being brilliant light while red being the source of natural ambient light.

OBJECT: This space has 2 tenets of lighting Focal Lighting: It focuses on objects from different angles as shown in diagram with yellow color. Ambient Lighting: Used to create an additional supportive light. Here the ceiling is entirely lit by ambient light. PAINTING GALLERY: It has two tenets of lighting. Ambient Lighting: As paintings require a specialized light which do not damage the art piece, so diffused light is used by keeping the contrast level low. It also avoids shadows. Focal Lighting: Along with ambient light, there is supportive focal light used to focus on a particular object/painting displayed. It acts as a supportive light.

CIRCULATION: Circulation has 2 tenets of light. Ambient: highlighting ceiling by uplighter spot light. It focuses directly on the small details on the ceiling. Focal Light: Used to focus on the objects directly on the circulation. It highlights the texture on the art piece. Hence, Richard Kelly’s three tenets of lighting are used in the space according to the requirement. Greek gallery has two tenets of lighting, painting galley has two tenets as well as the circulation area has two tenets of lighting i.e. Focal and ambient light.

Rogier Van Der Heide Theory _________________________________ Rogier Van der Heide talks about the theory of darkness and lightness. Darkness is as necessary in the space as lightness. The balance amount of both can create the required environment. The Kunstkammer museum has a significant darkness compared to brightness. DARKNESS: The space has a huge amount of darkness, creating a strong contrast. The entire space is darkened out while the objects which are to be displayed have been lit subtle. The ratio of darkness is more than brightness. This gallery does not tell the story of the objects by themselves. It engages people to find clues and go through the

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gallery to find that clue. These mysterious lighting supports the idea of finding hints. The small light spots do not create a wide focus area, creating the possibility to explore more in that space. Hence both darkness and light are necessary for us to engage with the experience. The contrast of light and shadow creates beauty and mystery. It is the interplay of light and darkness. Hence the above 2 diagrams depicts that the ratio of dark space is much more than the lighten space in whole museum. The black color in second image reflects the amount of light while white represents the darkness.

ATMOSPHERIC LIGHTING _____________________________________

Gallery hall

Greek Gallery

Kunstkama Museum

Hasya Rasa

Shringara Rasa

Adbhuta Rasa

Shantha rasa

Convivial

Veer Rasa

Convivial

Playful

Convivial

Functional

Theatrical

Mysterious

GALLERY HALL It has a soft white diffused, non flickering ceiling light, where the entire hall is lighted uniformly, and the supportive spot lights are used to highlighting the paintings and avoid glare. It creates a light mood resulting into Hasya rasa due to the color and light. The uniformity created in this space also responds to Shantha rasa. According to Louis Clair’s approach, it reflects a convivial, and functional environment. GREEK GALLERY The idols are lit individually with warm white narrow beam spot light, where the objects are directly highlight. These lights also highlights the ceiling, giving a Shringara rasa to the space. According to Louis Clai’s approach, it reflects convivial, playful and theatrical light. KUNSTKAMA MUSEUM This hall has soft white multiple chandeliers, highlighting the ceiling in a diffused uniform pattern. The entire ceiling is highlighted and creates a Shringara rasa and the subtle green color adds up to Shantha rasa. According to Louis Clair’s approach, it reflects convivial and discreet environment.

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Lighting in Museums | 138

TEXTURE

COLOR

COLOR TEMPERATURE

CONTRAST

BRIGHTNESS

VISIBILITY ATTRIBUTE

BACKGROUND COLOR

LIGHT COLOR

COOL

LOW

WARM

HIGH

GREEK GALLERY

BACKGROUND COLOR

LIGHT COLOR

COOL

LOW

WARM

HIGH

PAINTING GALLERY

BACKGROUND COLOR

LIGHT COLOR

COOL

LOW

KUNSTKAMMER GALLERY

WARM

HIGH

BACKGROUND COLOR

LIGHT COLOR

COOL

LOW

CIRCULATION

WARM

HIGH

• Direct lighting focusing on the

• Direct light from the top at an angle creates a top illumination and one side (front) vertical illumination. • Diffused light avoids unwanted glare while focused light from enhances the colors and details. • Top vertical illumination enhances the texture as well creates a shadow for giving depth.

• The light color vs the background color forming a composition as well determines the frame of vision.

• Less brightness in a museum space makes visitors to concentrate directly on the lighted object. • Moderate brightness allows visitors to concentrate on objects as well on architectural features which are being highlighted. • High brightness displays the space directly without visual hierarchy.

DESIGN CONSIDERATION

FUNCTIONAL LIGHTING

• The flexible spot lights are set focusing on each idol piece. The downfacing light lits the idol while upward facing lights the ceiling. • Spot light used to focus on painting along with diffused light from top. • Small beam of light is used to light up the object in Kunstkama museum to create a sense of mystery. • Spot lights lighting up the idol while uplighter lights used to light up the ceiling.

HIERARCHY

• Upward direct light is used for highlighting structural element like column while upward diffuse is used for highlighting the wall or an element which requires uniform lighting. • Downward direct is used to focus on particular object i.e. displayed objects while downward diffused is used to create a non hierarchical environment or uniform environment.

• Visual Hierarchy manages the priority of elements through light. Here, the hierarchy order is yellow, red & blue • Greek gallery: Ambient ceiling lightFocused light • Painting gallery: The ambient light through the ceiling. • Kunstkama museum: The chandelierAmbient ceiling light- focal light. • Circulation: Focal light- ceiling light.

qqqqqqqqqqqqqqqqqq

CEILIGN LIGHTING

DISTRIBUTION

DIRECTION

idols, from the ceiling. • Diffused natural light with focused light from ceiling. • Spot light in display unit with uplighter diffused light from the chandelier. • Direct spot light for idols while uplighter direct light for ceiling.

• A direct spot light, falling on the ceiling, highlighting the curves and patterns • Natural diffused light from ceiling, creating a uniform environment, supported by spot lights. • Uplighter lights, form chandelier, highlighting the ceiling uniformly and enhances the character of the space. • Uplighter direct light illuminates the curved surface as well defines the way

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INFERENCE OF APPROACH TO APPLIED THEORIES JOHN FLYNN Theory of Lighting mode Central-peripheral Uniform-Non Uniform Warm-Cool Bright-Dim GREEK GALLERY

PAINTING HALL

KUNSTKAMMER GALLERY

CIRCULATION

JOHN RUSSEL PAD Theory Pleasure: The mesmerizing effect or the first impression of the space Arousal : The crowning moment of the entire space, which comes out to be an unplanned surprise element brings in the excitement and enhances the space, imprinting memory. Dominance: The controlling factor which makes peo ple go and experience it and helps to bring the driving factor in space.

PLEASURE

AROUSAL

DOMINANCE

PEAK MEMORY

END MEMORY

EXPERIENCING SELF

UNFAMILIARITY

COHERENCE

COMPLEXITY

GREEK GALLERY

PAINTING HALL

KUNSTKAMMER GALLERY

KAPLAN & KAPLAN Environment building Familiarity: The familiarity index increases by arranging layout resulting into mundane environment and simplicity in space. The familiar atmosphere makes the space perceive by itself without experiencing Coherence-Complexity: The coherence allows elaborated design while complexity allows to look into small lighted details.

RICHARD KELLY 3 Tenets of Lighting Focal Light Ambient Light Brilliant Light

ROGIER VAN DER HEIDE Lightness-Darkness

DARNESS

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LIGHTNESS

CIRCULATION

CAPTION •

Greek gallery: Central as well Peripheral -Non Uniform- DimWarm. Focused light.

•

Painting: Central as well peripheral- Uniform- Bright-Cool. Diffused Lighting

•

Kunstkammer gallery: CentralNon Uniform- Dim-Warm.

•

Circula tion: Peripheral- NonUniform- Moderate bright-Warm. Ceiling Lighting

•

Pleasure: The climax, created by well lit ceiling and grand entrance Arousal: The secondary entrance created by 2 grand staircase becomes the crowning point of the journey. Dominancy: Created by engaging people in finding a story behind each object in Kunstkammer galley.

Pleasure-Arousal-Dominance • The play of light in highlighting the ceiling helps to print the impression of pleasure. • The grand staircase with highlighted architectural elements and huge scale creates arousal on entering. • The interactive display controls the movement and engage visitors which leads to certain dominancy in space.

Peak Moment: The double height area, leading to the main entrance with entirely lit ceiling becomes the peak moment End Moment: The ending is shaped by an interactive experience of finding a story behind the objects displa yed. It leaves an impact in the end.

Peak – End Moment • Peak memory, which hereby is conceived by the ambient light on the ceiling. • End memory becomes the thing which completes the experience, which hereby is achieved by involving people and engaging them to uncover the facts.

•

• •

Lighting modes by John Flynn • Central lighting is used to highlight objects directly while peripheral used to highlight the surface. i.e. ceiling in this hall. • Diffused uniformly spread light is used to light paintings • Diffused peripheral light is used to light the ceiling as well focused light to light the object. • Circulation is lit by ceiling light. Diffused, peripheral lighting is used to light ceiling.

OBSERVATION •

•

Enhances the elements of architecture as well objects Enhances uniformly over painting to avoid reflections Enhances the ceiling directly by subtle diffused light. Giving directionality in itself.

• • •

Peripheral Lighting in heritage building helps to create a sense of placement and enhances the historic elements. Central lighting helps to perceive the entire space in one glance. Non uniform lighting creates a depth by emphasizing on certain element likely the arches in this case for c entral area. Uniform light helps to create a non hierarchical vision.

•

IMPACTS

APPLICATION

Unfamiliarity: It doesn't have much familiar elements or the space which resembles the prior match. Coherence: Allows to look into the object in an holistic approach Complexity: allows to look into the small details of the object.

•

Richard Kelly • Spotlights for focal light on objects, Uplighter spot lights for highlighting the ceiling and creating an ambience. • Diffused light in painting section • Lighted ceiling acting as a way defining with up lighter light.

Yellow being focused light on objects. Orange being ambient light, red being natural light source for ambience and blue being the light of brilliance for each space.

The amount of darkness in the space The negative image of the same, where white black being the lighted areas.

Familiarity-Unfamiliarity: The scene created by unfamiliar environment and high preferenc e makes an interesting response Coherence: The objects are lighted through direct light, giving justice to the scale of object.

•

Helps to create a welcoming and convivial effect Enhance the architectural elements and makes a impressive impact. Enhancing interactivity and creating a medium to connect with technology and history.

• •

•

• •

Enhances the first impression and acts as a tool of imprinting memory. Enhances the experience by practical implication of narrating objects.

An impressive effect can be achieved at the entrance hall to create an impactful memory. Play of scale can help to bring arousal in the experience with same set of elements. By involving visitors in a particular space or creating an environment engaging people in it leads to dominancy

•

The unfamiliar environment makes the environment more inquisitive to explore the space. Coherence allow to give a holistic vision. Complexity allows to emphasis on the small details on the object.

• •

Richard Kelly • Spot light creates a center f attention and creates a vis ual hierarchy. • Diffuse delight enhance the entire gallery area to avoid direct reflection • The highlighted ceilings adds value to the heritage ceiling.

• • •

By reflecting the identity of heritage museum and shaping it into a wow factor can create a peak moment. Impactful end to a museum can create a memorable impression or end memory.

High preference with low familiarity can lead to an interesting approach approach. The coherenc e can be created by lighting enormously on the object. Complexity can be created by adding secondary lights supporting the coherent light.

Highlighting an object can be achieved by focal light. Highlighting architectural element can be achieved by ambient light. Highlighting some sparkle point or point of attention can be achieved by brilliant light.

Rogier Van Der Heide •

Darkness plays a significant role along with brightness. Here the amount of darkness is much more then the brightness,

•

Darkness in the space makes visitors concentrate on the particular object without interference.. Lightness enhances the darkness of the space, making an impactful impression

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•

Darkness in the space highlights the small spot light in the case creating an mysteries effect. Complimenting darkness with light can create a balance between environment.

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Selection criteria for Primary Case Study The two primary case study has been selected in Indian context. These museums have recently been renovated and had conscious decisions on lighting. These museums are housed in a heritage building, continuing the past with the recent approach of lighting. These studies have been selected in different cities on India, as well different typologies of museum. The typologies include anthropology museum and General museum. 1. Bhau Daji Lad museum, Mumbai (Anthropology museum) 2. Victoria and Albert Museum, Jaipur (General Musuem)

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5.2.2 TANGIBLE APPLICATION PRIMARY STUDY Bhau Daji Lad Museum

BHAU DAJI LAD MUSEUM,MUMBAI CASE STUDY 2

Location: Mumbai, India Established in 1855 Re-opened in 2014 Architect: Vikas Dilwari •

Lighting in Museums | 144

Unesco Asia Pacific award of excellence, 2005

Bhau Daji Lad museum was established in 1855 in this grand palladian building, oldest in Mumbai and 3rd oldest in India. It was opened to the public as Victoria and Albert Museum in 1872. Housed next to 155 year old Jijamata Udyan botanical gardens and zoo in Byculla, a unique custodian of the city’s cultural heritage. The museum committee which oversaw construction and fundraising was led by Dr George Birdwood, who conceptualized much of the museum design and Dr Bhau Daji Lad, a prominent physician, historian and philanthropist after which the museum was renamed as Bhau Daji Lad Museum in 1975. This gorgeous museum, built in Renaissance revival style in 1872. The landmark building was renovated in 2008, with Minton-tile floors, gilded ceiling moldings, ornamented columns, chandeliers and staircase all gloriously restored. The museum galleries feature numerous works of art and antique items, including contains 3500-plus objects centering on Mumbai’s history-photography, maps, textile, books, manuscripts, lacquer-ware, weaponry and exquisite pottery The interior is a rare example of High Victorian design in India, The grand wrought iron palisades, staircase railing and arched supports, as well as the Corinthian capitals and columns which are the defining features of the building which were imported from England. The richly colored details, the intricate wood carving, the Minton tiles floors, the etched glass and gold gilding make it a unique example of 19th century architecture in the country. The original design was conceptualized by George Birdwood. The design included all the basic features of the building visible today -a long hall, Doric pillars, galleries on either side of the building and large windows for light and ventilation. The 3 spaces have 1. The Central Hall/ circulation : of the museum, is lighted such The lights are fixed on such

been considered in this case study The double height space, which gives the volume that it enhances the arched as well the columns. architectural elements, respecting the architecture.

2. The industrial arts Gallery: It showcases the arts and crafts of the19th century, which were exported to Europe. The arts were then fused with European culture and adopted by them. Those art pieces are exhibited in this gallery. It gives natural light from large arch windows and direct target light for showcases. Ambient light is created by hanging lamps. 3. Kamalnarayan Bajaj Gallery: It exhibits the development of 18th, 19th and 20th century Mumbai as well the lifestyle, occupancy, traditions of Mumbai’s many communities. The entire floor is dedicated to this anthropology section. The arches spatially divide spaces while the hanging lights provides the ambient light along with natural light.

Fig 01: Zoaning Diagram of Bhau Daji lad museum

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John Flynn’s Theory___________________________Central Volume__________ John Flynn’s 4 lighting modes i.e Uniformity- Non uniformity, Central-Peripheral, Bright-Dim, Warm-Cool lighting are described by taking the case of 3 spaces, i.e. The Central Volume, The Kamalnarayan gallery, The Industrial art gallery. Below data is on the central volume, where red being the natural light and yellow being artificial lighting.

Fig 02: John Flynn’s theory in Central Volume in Plan.

Lighting Mode

Light

Fig 03 John Flynn’s theory in Central Volume

Lighting Technique

Description

UNIFORM

Natural light, ceiling hanging light

Diffused Light & Ambient light

Diffused natural light lits the space uniformly. The hanging ceiling lights on periphery gives diffused ambient light

CENTRAL

Natural Light

Ambient Light

Lightens the entire double height

DIM

Hanging ceiling light

Ambient Light

Focuses on the elements and details through diffused light.

WARM

Spot light

Uplighter light

It enhances the architectural elements along with highlighting the details through warm white light.

Table 1: John Flyn’s theory in Central volume

Richard Kelly’s Theory____________________________________________

Richard Kelly had categorized light in 3 tenets, i.e. focal light, brilliant light and ambient light. Here all 3 tenets of lighting are used in central volume. Yellow being the secondary focal light on display unit, Orange being the ambient natural light and blue being the light of brilliant. Fig 04: Richard Kelly’s theory in Central Volume

Ambient Light: To highlight the architectural element by diffused uniform lighting. Bhau Daji Museum has windows in the ceiling, throwing natural light to the central space. Focal Light: Highlighting object by focusing on the display unit. Brilliant Light: Multiple light sources of hanging ceiling lights are visible which acts as a light of brilliance.

Lighting in Museums | 146

4200

4200 4000

6000

4000

8700

4500

Fig 05: Dimension of light in Central Volume

Lighting Approach & Lighting Attribute__________________________ Attributes Light

Ceiling Hanging

CCT

3500K

Color

Warm White

Type

Fig 06: Pendant lighting fixture in Central volume, second floor.

Ambient light

Distribution

Downward Diffusing

Mode

Central Lighting

Table 4: Attributes of pendent light in Central volume

Attributes Light

Spot Light

CCT

4000K

Color Type

Fig 07: uplighter spot light, highlighting the columns merging into the ceiling.

The Lights are hung for the ceiling on peripheral arches of double volume. This light creates an ambiance as well as lit up the space uniformly along with natural light which gives a sense of volume. The warm white light makes the space look warm and more historic.

Soft White Ambient light

Distribution

Upward Diffusing

Mode

Peripheral Lighting

Table 5: Attributes of spot light on the columns

Soft white spot light is placed on the column towards the ceiling. It highlights the column as well as enhances the small carved details on columns as well as on the ceiling. Apart from highlighting the columns, it adds the value of architectural elements by individually lighting them. These lights also define arches above the column.

Hence, The 5300 sq ft area has 2 types of ambient light and. There are 2 lighting theories used in this space, i.e. John Flyn’s Lighting modes, Richard Kelly’s Ambient and focal light.

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John Flynn’s Theory___________________Kamalnarayan Bajaj Gallery________ John Flynn’s 4 lighting modes i.e Uniformity- Non uniformity, Central-Peripheral, Bright-Dim, Warm-Cool lighting are described by taking the case of 3 spaces, i.e. The Central Volume, The Kamalnarayan gallery, The Industrial art gallery. Below data is on the KamalNarayan gallery.

Fig 08: John Flynn’s theory in KamalNarayan’s gallery in plan

Fig 09: John Flynn’s theory in KamalNarayan’s gallery

Lighting Technique

Description

Lighting Mode

Light

NON UNIFORM

Natural light, ceiling hanging light

Diffused Light & Ambient light

Diffused natural light coming from large windows. The hanging ceiling lights on periphery gives diffused ambient light

CENTRAL

Downlighter hanging ceiling light.

Ambient Light

Brightens the central circulation path.

BRIGHT

Natural light, Hanging ceiling light

Ambient Light

WARM

Hanging ceiling light, spot light

Downlighter light

Ample light due to large windows as well separate hanging lights form ceiling. . Warm white light for displaying objects. Hanging yellowish white light for ambient lighting.

Table 5: John Flynn’s theory in Kamalnarayan gallery

Ambient Light: To highlight volume of the space which is achieved by natural light. The peripheral wall lamps are used to enhance the columns. Focal Light: Highlighting object by focusing on the objects. Brilliant Light: Multiple light sources of hanging ceiling lights are visible which acts as a light of brilliance.

Fig 11: Lighting approach in Display Unit

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The series of busts are kept in the display which is lighted from the top with a concealed spot light. Each unit has one bust and is lighted similarly.

12500 1800

1700

1800

830

5300

Kamalnarayan Bajaj Gallery

Fig 12: Dimension of light in Kamalnarayan gallery

Lighting Approach & Lighting Attribute__________________________ Attributes Light

Fig 13: Chandelier in the entrance of Kamal Narayan gallery

Chandelier

CCT

5000K

Color

Cool White

Type

Ambient light

Distribution

Upward Diffusing

Mode

Central Lighting

Table 6: Attributes of Chandelier in gallery

Attributes

Fig 14: Spot light for lighting up portraits on wall.

The chandelier is located on the staircase towards kamalnarayan gallery. A Victorian style chandelier, having upward diffused light acts a light of brilliance as well as a sparkle in the space. It enhances the character of the space by giving an authentic royal look.

Light

Spot Light

CCT

3000K

Color

Warm White

Type

Focused light

Distribution

Downward Direct

Mode

Peripheral Lighting

Table 7: Attributes of spot light in gallery

The wall mounted spot light is used to highlight the timeline of museums and people who have contributed their design and fund for this museum. It is projected from the wall and focusing on the portrait hung on the wall. It is located in the transitional way, the light source is not visible as one moves form one gallery to another.

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John Flynn’s Theory______________________ Industrial Art Gallery__________ John Flynn’s 4 lighting modes i.e Uniformity- Non uniformity, Central-Peripheral, Bright-Dim, Warm-Cool lighting are described by taking the case of 3 spaces, i.e. The Central Volume, The Kamalnarayan gallery, The Industrial art gallery. Below data is on the industrial arts gallery.

Fig 15: John Flynn’s theory in industrial art gallery in plan

Fig 16: John Flynn’s theory in Industrial art gallery

Lighting Technique

Description

Lighting Mode

Light

NON UNIFORM

Ceiling hanging light, Spot light

Diffused Light & Focused light

Ceiling light creates an ambience while spot light highlights the objects.

CENTRAL

Downlighter hanging ceiling light.

Ambient Light

Brightens the central circulation path.

MODERATE

Spot Light

Focused Light

Focuses on directly on objects and restricted amount of natural light.

WARM

Hanging ceiling light, spot light

Downlighter light, Focused Light

Warm white spot lights on display units as well warm white ceiling hanging lamps for ambience.

Table 8: John Flynn’s theory in industrial art gallery

Richard Kelly’s Theory____________________________________________ Richard Kelly had categorized light in 3 tenets, i.e. focal light, brilliant light and ambient light. Here all 3 tenets of lighting are used in the Industrial arts gallery. Yellow being the secondary focal light on display unit, Orange being the ambient natural light and blue being the light of brilliant. Ambient Light: To enhance the detail work of ceiling through uniform lighting. The large windows also contribute in creating ambiance. Focal Light: Highlighting object by focusing on the display unit. Brilliant Light: The hanging light source from ceiling acts as a light of brilliance. Fig 17: Richard Kelly’s theory in industrial art gallery

The display units are similar to each other but each display unit is lighted according to the object present in that unit. The display unit has a track for spot light on top of it as shown and the direction osf spot is decided after the placement of objects. This dynamic lighting helps to fit in and light any object in the unit. Fig 18: Lighting approach in Display Unit

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4200 1500

2100

1800

4200 2100

1800

4200 2100

1800

4200 2100

4200

1800

2100

1800

4200 2100

1800

4200 2100

1800

2100

1800

Industrial Art Gallery

4400

3500

4400

Fig 19: Dimension of light in Industrial arts gallery

Lighting Approach & Lighting Attribute__________________________ Attributes Light

Fig 20: Pendent lighting fixture in industrial art gallery

Hanging Light

CCT

3000K

Color

Warm White

Type

Ambient light

Distribution

Multidirectional diffused

Mode

Central Lighting

The hanging lights are kept in each module of arch as shown in the plan above. It creates an ambiance, blending with natural light from large windows. Its Victorian style ceiling, with hanging warm white lamps, which enhanced the small details of the surrounding like ceilings, columns as arches.

Table 9: Attributes of pendent lighting in gallery

Attributes Light

Fig 21: uplighter wall lighting to create spatial boundary

Wall mounted

CCT

3500K

Color

Soft White

Type

Ambient light

Distribution

Upward Diffused

Mode

Peripheral Lighting

Wall mounted uplighter lamps are placed on either side of the column at an 2000mm. It acts as an ambient light as well as it creates a directionality and guides people to move in that fashion.

Table 10: Attributes of wall mounted uplighter light

Hence, The 2100 sqft area has 2 types of ambient light. One is hanging light from the ceiling enhancing the ceilings and other small details while a wall mounted lamp also creates an ambient light by giving directionality to circulation. There are 2 lighting theories used in this space, i.e. John Flyn’s Lighting modes, Richard Kelly’s Ambient and focal light.

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Pleasure-Arousal-Dominance theory by John Russel_____________ John Russel divided experience into 3 parts, i.e. pleasure, Arousal and Dominance. Here Pleasure and Arousal are achieved by 2 different spaces whice due to open plane there is no defined dominancy.

Fig 22: The light making an impact in plan, highlighting pleasure

PLEASURE: The most imprinting experience which can be resembled later is the central volume. The double height lighted on its periphery, defining that space, through individual ceiling hung lamp in each arch, as well the ornamented columns and arches makes the space majestic.

Fig 23: The light making an impact in plan, highlighting arousal

AROUSAL The most memorable space, bringing excitement or acts as an unplanned surprise. The staircase gives an imperial feel to the space due to Victorian chandelier and the ornamented balusters, columns etc. It gives a glorious feel to the space. There are various factors which lead to experience arousal and pleasure in space. while there are certain factors which frames dominance as well, but here due to the free moment between display system and open plan, there is no strong dominance. Below mentioned are the factors leading to Pleasure and Arousal for Bhau Daji Lad Museum. PLEASURE

The Volume

The series of ornamented columns

AROUSAL

Imperial space

Victorian Chandelier

Lights form arches Ornamented staircase

Table 11: Factors leading to Pleasure, arousal and dominance in this museum

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Majestic effect

Glorious effect

Peak-End Theory__________________________________________________ Kahneman discovered 2 states, experiencing self and narrating self. and the 3rd is making memories through peak-end moments. Here the space is experienced by ‘experiencing self’. The peak moment is captured by the kamalnarayan gallery. There is as such no end moment in this space. It has similar display units with individual lights in each unit, fixed according to the displayed object.

PEAK MOMENT: The experience which imprints by creating a special impression can be termed as peak moment. Here the volume is enhanced by natural light as well ceiling lights and the ornamented central space in kamalnarayan gallery gives a memorable experience. It gives a frame to architectural elements in one glance. EXPERIENCING SELF: Experience is created by self perceiving display units, which makes people experience the entire thing in an accepting way. Here the display lights the objects according to its characteristics. Fig 1: Displays on the first floor i.e. anthropology section where the humans were light by spot lights, falling on each piece individually. Fig 2: Pot are lighted from both the sides as shown.

Satisfaction

Fig 3: The 2D display elements are lighted from the display unit through spot light, light falling on them. as shown in figure 3. Kahneman has described peak end moment to create memories. Below shown is the graph depicting the peak-end moment. It is the overall experience of the space captured by peak-end moment lens.

Peak

End

Time

The graph represents the peak-end moment of the experience. In Bhau Daji lad museum has 2 peak moments. One through central hall and other through kamalnarayan gallery. The graph represents the ups and downs of the peak end moment.

Fig 24: Peak end moment graph of museum experience

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Kaplan and kaplan’s Theory______________________________________ Kaplan & Kaplan used 2 keywords to capture the essence of these environment aspects that are driven by preference. i.e. Familiarity-Unfamiliarity and coherence-complexity. Here, the central double volume shows Familiarity to the space while the open plan makes the space looks more coherence. FAMILIARITY - UNFAMILIARITY: The familiarity index increases by arranging layout resulting in an acquainted environment. The familiar atmosphere with prior matches makes the space perceive by itself without experiencing it. Here, the multiple highlighted arches and columns makes the space look more familiar. A familiar space with good preference results in an accepting response.

COHERENCE-COMPLEXITY: The space is lighting up to enhance the small details in the entire space. The coherence is created by the daylighting in the center, while the entire space shows complexity in lighting. The pendant lights enhances the space from ceiling, to columns to floor. Coherence Complexity

Hence, the space is shaped by familiar yet have a good preference resulting in an accepting approach. It has a complexity in nature to experience the space. Observations: 1. The environment provides enough clues in interpreting the exhibition, likely the open plan, the fluidity in circulation, lighting in each display according to the object’s characteristic. 2. There are enough familiar elements like the double volume, series of arches, columns etc adds up to the mental matches with the prior environment. 3. The sense of environment in Bha Daji Lad museum directs to likeness and creates a positive preference to go around the space and explore the objects displayed. The open plan increases fluidity in space and the organised with enhanced details reflectis complexity in space.

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William Lam’s Theory______________________________________________ William Lam has derived 4 context oriented lighting i.e.Activity based needs, biological needs, orientation and discernibility. The 3 stages of perception are applicable here in Bhau Daji lad museum. The first image is the original image while the second had a layer of their context based perception.

ACTIVITY NEED: The lightings placed in the display unit are lighting up the display, but there are other ambient light which collaborates to light up the display unit. Hence, it doesn’t have one specific activity based light for display unit, there are contribution of 2-3 lights for lighting up the objects.

BIOLOGICAL NEED: The space has a stimulative perception as the ornamentation and the detailed ceiling has been lighted by multiple light sources, giving an emotional an imperial and magnificent look to the space.

ORIENTATION: The gallery has large windows on one side, opening up to the garden on the exterior side. These windows help to create a sense of time in the space and create a contact with the exterior environment. Hence these 3 context based lighting makes the space more accepting and delivers the desired result. all these 3 lightings enhance the space and accentuate the ornamentations and carvings on the interior as well as the objects in the display unit. This space does not have a discernibility factor.

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ATMOSPHERIC LIGHTING _____________________________________

Central Volume

Industrial Arts gallery

KamalNarayan Gallery

Shringara Rasa

Adbhuta Rasa

Shringar Rasa

Adbhuta Rasa

Shringar Rasa

Convivial

Magnificent

Playful

Imperial

Convivial Magnificent

CENTRAL VOLUME It has a warm white diffused, non flickering hanging pendant light in the periphery, where the small crafted details are being highlighted, and small multiple light sources are visible giving it the essence of Shringara rasa and Adbhuta rasa. The daylight entering from double height volume lights up coherently in central space. According to Louis Clair’s approach, it gives a magnificent and imperial look to the space. KAMAL NARAYAN GALLERY It has similar hanging diffused non flickering pendant light, throwing light uniformly in the space while the columns are being highlighted by soft white uplighter lights, defining the arch. The small crafted details throws light on the ornamentation of the space. The diffused wall mounted lights give a spatial boundary to the space and these multiple light sources and ornamentations adds up to Shringara rasa and Adbhutaya rasa to the space. According to Louis Clair’s approach, it reflects playful, convivial and magnificent lighting. INDUSTRIAL ARTS GALLERY it has warm yellow hanging pendant light creating an uniform atmosphere and the large windows bring in ampe day light. it reflects Shringara rasa in the space. According to Louis Clair’s approach, it reflects a convivial and playful lighting.

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DIRECTION

PERIPHERAL

CENTRAL

NON-UNIFORMITY

UNIFORMITY

SPATIAL ATTRIBUTE

LOW

25% 48%

43%

66%

CENTRAL VOLUME

HIGH

LOW

17% 41%

53%

45%

HIGH

KAMALNARAYAN GALLERY

LOW

13%

LOW

41%

64%

59%

HIGH

INDUSTRIAL ARTS GALLERY

• Visual Hierarchy guides to lead the focus of vision. • Here, The yellow colored light catches the first attention followed by red and blue.

• The soft white uplighter light highlights the architectural elements while pendent light creates an ambience in the whole space. • The warm white diffused uplighter wall lighting on the periphery helps to perceive a spatial boundary as well as acts as defines the way. • The ceiling suspended light creates warm white downward diffused central uniform lighting light and helps to enhance the character of the space.

i..e. the statistic data is achieved by calculating total area divided by the area which has peripheral lighting.

• Central lighting creates a sense of comfort and invitation as well gives a sense of volume

• Peripheral lighting adds up to the architectural character of space in heritage building, by enhancing architectural elements.

i..e. the statistic data is achieved by calculating total area divided by the area which has uniform lighting.

• Nonuniformity creates a visual hierarchy in experiencing the space.

• Uniformly creates a sense of space and allows to perceive the vastness.

OBSERVATIONS

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TECHNIQUE

FIXTURE

TASK LIGHTING

HIERARCHY

• Wall mounted diffused uplighter soft light is used to create a sense of enclosure.

• Kamal Narayan gallery has wall mounted focused light, to highlight the staircase wall.

• The central hall has uplighter focused direct light, enhancing the arches.

• Hanging pendent light is used in industrial art gallery to create an ambient light.

• Chandelier is used in Kamal Narayan gallery as a statement of Victorian interior.

• Pendent light is used to create an ambient in central space.

• Neutral white Spot lights are used to light the objects displayed inside the unit.

• The direct soft light in discreet display in the glass case to light each burst in that unit individually,.

• A diffused natural light falling on the sculpture from the top.

• The order of vision in central space is Ambient light- architectural elements light- display lights. • The order of vision in Kamal Narayan gallery is ambient lightUplighter ceiling light- Display light. • The order in industrial Art gallery is ambient light- Display light- natural light form windows.

VALUATION

INFERENCE OF APPROACH TO APPLIED THEORIES

LIGHTING MODES

JOHN FLYNN Theory of lighting Mode Central-peripheral Uniform-Non Uniform Warm-Cool Bright-Dim

CENTRAL SPACE KAMALNARAYAN GALLERY

INDUSTRIAL ART GALLERY

i.e. the statistic data is achieved by analyzing total area and the area covered by each theory.

JOHN RUSSEL

PLEASURE

P.A.D Theory

AROUSAL

Pleasure Arousal Dominance

KANHEMAN Creating Memories

PEAK MOMENT

Peak Moment End Moment Experiencing self Narrating self

KAPLAN & KAPLAN

EXPERIENCING HALL

i.e. the statistic data is achieved by analyzing total area and the area covered by each theory.

ENVIRONMENT BUILDING

FAMILIARITY

COHERENCE

Environment building COMPLEXITY

Familiarity- Unfamiliarity Coherence-Complexity

i.e. the statistic data is achieved by analyzing total area and the area covered by each theory. LIGHTING TENETS

RICHARD KELLY 3 Tenets of Lighting Focal Light Ambient Light Brilliant Light

CENTRAL HALL

KAMALNARAYAN GALLERY

INDUSTRIAL ART GALLERY

i.e. the statistic data is achieved by analyzing total area and the area covered by each theory.

WILLIAM LAM

ACTIVITY NEED

BIOLOGICAL NEED

Stages of perception Activity needs Biological needs Orientation

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ORIENTATION

CAPTION

• Central lighting is used to create an ambience and enhance the small details. • Non unif orm light is used to create a hierarchical vision. • Natural light is used to light the double volume, giving a uniformly dif fused environment.

1. Central space: CentralUniform- Dim- Warm 2. Kamal Narayan Gallery: Central- Non Uniform- BrightWarm 3. Industrial Art CentralNon Moderate- Warm

Gallery: Unif orm-

The double volume form Kamal Narayan gallery.

2. The Victorian style chandelier on the staircase

1. 2. 3.

Peak – End Moment • Peak memory, which hereby is conceived by the ambient light defining double height. • The ‘experiencing self’ is used by functional lighting in displays which can be experienced by self explanation.

2. The open plan allows flexibility in circulation.

Yellow being focal light, orange being ambient and blue being the light source

• Enhances the object by focusing it • Enhances the space uniformly giving a sense of volume.

• Helps to visualize the scale. • Enhances the transition space from one floor to another.

• Enhances the first impression and acts as a tool of imprinting memory through light.

Kaplan & Kaplan • Familiarity-Unfamiliarity: Here the scene created by familiar environment allows visitors to make a prior match resulting into an accepting response. • Coherence: The flexible circulation helps to create a coherence in the space.

1. The familiar elements are highlighted in the given image.

1. Central space:. 2. Kamal Narayan Gallery 3. Industrial Art Gallery.

• Enhances the small details and ornamentations.

• The highlighted arches and columns in double volume creates pleasure in the space. • The Victorian chandelier with upward diffused cool white light gives an arousal to the space.

The double height form Kamal Narayan gallery. Pot displayed with spot light on either side. 2D object lighted from the spot light above the display unit.

• The familiar environment makes the environment more friendly to explore the space. • Coherence allows self guided experience in the space.

• Focused ceiling hung light for lighting object, shown in yellow while dif fused natural light and wall light for ambience shown in orange. • Focused lights are used in display units to directly highlight the object.

• The wall light highlight adds up to the character of heritage building. • The diffused light allows enough light to evenly spread amongst the entire space. • The ambient light allows to observe the small details on the ceilings as well as columns.

•

The activity perception

based

•

The Biological perception

based

•

The orientation perception

based

•

The activity based perception is perceived by the task lighting on objects. The biological based perception is perceived by stimulating central hall with multiple light sources. The orientation based lighting is perceived by inside outside relationship through windows

OBSERVATION

IMPACTS

APPLICATION

•

The activity based lighting enhances the texture, material and color of the object. The biological based lighting enhances the stimuli and helps to translate the emotion through light. The orientation based lighting enhances the c ontext and gives a reference clues in the space. .

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• Central Lighting and uniform lighting in heritage building helps to create a sense of volume and scale. • Non uniform lighting creates a depth by emphasizing on certain element likely the arches in this case for central area.

• Play of volume with details and carving makes the space look more interesting. • The chandelier adds up the charm in an European style building and acts as a style statement in the space, bringing arousal in the experience.

• By reflecting or highlighting the identity of a heritage element and shaping it into a wow factor can create a peak moment. Here the columns and arches are lighted, giving significance to structural elements.

• Preference with high familiarity can lead to an accepting approach. • The coherence can be created by giving flexibility in circulation as well as defining he path for circulation.

• Highlighting an object can be achieved by focal light. • Highlighting architectural element can be achieved by ambient light, which here is achieved by ceiling hung light. • Highlighting some sparkle point or attention catching point can be achieved by brilliant light, which here is achieved by chandelier.

•

The activity based lig hting gives justice to the object. Unwanted la yers of illumination becomes a visual noise. The connection with nature within the space gives a sense of time.

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5.2.1 TANGIBLE APPLICATION PRIMARY STUDY Albert Hall, Jaipur

ALBERT HALL MUSEUM ,JAIPUR CASE STUDY 2 Location: Jaipur, India Established in 1876 Re-opened in 2017 Architect: Locus Design

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Albert hall museum was built in 1876, within Ram Niwas Garden, Jaipur. It was first envisaged as a concert hall, resembling Victorian architecure and Albert Hall Museum, London. Museum has a wide collection from various parts of the world and displayed over 16 galleries. Sunlight falling on the exterior of the building creates a complete new look to the building with glimmers and brilliant yellow lights, looking stunning and spectacular. The foundation of the museum was set by Albert Edward, the prince of Whales when he visited Jaipur in 1876. Later Maharaja Sawai Amdho Singh 2 constructed a temperary museum in 1881. It exhibited the works of local craftsmen and artists. Swinton Jacob, an eminent architect of the time completed the construction of Albert Hall in 1887. Later the artifacts were moved to newly built Albert Hall. The museum galleries feature numerous works of art and antique items, including marble art, antique coins, Egyptian mummy, carpets and pottery. Besides that, there are varied paintings, poetraits, woodwork, brassware, and sculptures on display. Albert Hall resembled the splendid Indo-Saracenic architecture, the hallways or corridors adorned with murals of diverse styles. The architecture of Albert hall is the fusion of elaborate Islamic architecture and Neo-gothic style. The museum consists of 2 floors and a small part dedicated in the basement. The 3 cases studied over here are based on the ground floor. hence, the zoning diagram of the Ground floor, comprising 8 galleries out of 16. The 3 spaces have been considered in this case study 1. Carpet Gallery: The Persian Garden carpets, displayed in a glass case. This gallery also houses circular carpets as well as doormats representing flowers and Mughal patterns. There are lit by a running LED strip on top of the glass box. 2. Pottery Gallery: It houses some of the finest pottery collections from the 19th century, representing diverse range, intricacy and catility of craft. It has been light with integrated up lighter and downlight light in the arched case. 3. Marble Art Gallery: It exhibits the 19th century sculptures, designed by the artisans of Jaipur. It includes theidol of Shiva, Parvati, Jain tirthankars, Brahma and Vishnu, anesha etc. It has been lighted by individual spotlights falling directly on each of the art pieces.

Fig 1: Zoning Diagram of Albert hall

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John Flynn’s Theory___________________________Carpet Gallery__________ John Flynn’s 4 lighting modes i.e Uniformity- Non uniformity, Central-Peripheral, Bright-Dim, Warm-Cool lighting are described by taking the case of 3 spaces, i.e. The Carpet gallery, The pottery gallery, The marble art gallery. Below data is on the Carpet gallery.

Figure 2: Layout diagram of Carpet gallery

Lighting Mode

Light

Figure 3: John Flynn’s theory in Carpet gallery

Description

Lighting Technique

Light running on the walls for creating an ambience while focused light for objects displayed.

NON UNIFORM

Strip light, wall mounted lamp, object lighting

Diffused Light & Focused Light

PERIPHERAL

Strip light

Indirect light

DIM

Chandelier

Brilliant light

To focus on the lighted objects as well the highlighted architectural elements

WARM

Wall mounted lamp

Diffused and warm Light

Creates a welcoming ambience for an entrance space.

To highlight historic elements.

Richard Kelly’s Theory____________________________________________ Richard Kelly had categorised light in 3 tenets, i.e. focal light, brilliant light and ambient light. Here all 3 tenets of lighting have been used in the entrance hall. Orange depicting ambient light yellow depicting focal light and blue depicting light of brilliance. Ambient Light: To highlight the architectural element by peripheral lighting. Focal Light: Highlighting object by strip light on top. Fabrics are sensitive to light so soft light is used to light that fabric. Brilliant Light: a sparkle point or the point of attention in the hall, which is accomplished by a chandelier. Fig 4: Richard Kelly’s theory in Entrance hall

Fig 5: Strip light i.e. lighting technique for display in entrance hall

Light

Strip Light

CCT

4000K

Color

Warm white

Type

Focused light

Distribution

Downward Concentrating

Table 1: Attributes of object lighting

7500mm * 3000mm display unit in the entrance hall is kept on either side of the hall. 4 walls made out of glass to display a fabric piece inside it. A warm white 4000K light strip is used to light that piece as shown in the image. Lighting in Museums | 166

Lighting Dimention_________________________________________________ 1600

700

1700

500

2000

1700

700

1600

1638

3000

7500

3400

Chandelier

Entrance Hall

1700

Fig 6: Dimension of light placement

Lighting Approach________________________________________________

Fig 7: Object display lighting

Fig 8: Wall mounted lighting

A concealed warm white LED strip light, grooved in the wooden plank, and has a glass on 4 sides, for lighting the fabric. These LED produces focused light yet diffused to spread around the entire carpet.

The wall mounted lamp resembles of old Victorian era lamp, spreading a warm white light in the hall. It allows to enhance the character of building as well acts as a source of Ambient light.

Fig 9: Wall lighting

Fig 10: Chandelier lighting

The LED light passing on the wall, light washes the jali and texture with needs to be highlighted. It spreads light in an ombre manner form darker to lighter, enhancing the architectural elements.

Chandelier, acting as a light of brilliance, and spreading a dim light in the central area such that the object becomes the element of highlight. It has a downward distribution of light.

Lighting Attribute__________________________________________________ The 1500 sqft area has 4 types of light. i.e. Focused object lighting, Ambient light, wall mounted light and chandelier. Light CCT

Strip Light for Object

Wall Mounted Lamp

4000K

Strip Light on walls

Chandelier

3000K

Color

Warm white

Type

Focused light

Ambient Light

Brilliant Light

Downward Concentrating

Multidirectional diffusing

Upward Concentrating

Downward diffusing

Central-Uniform-Warm-Dim

Peripheral-NonuniformWarm-Dim

Distribution Mode

Peripheral- NonuniformWarm-Dim

Central- Uniform- Warm-Dim

Table 2: Attributes of light in Carpet gallery

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John Flynn’s Theory_________________________Copper Pottery Gallery_____ John Flynn’s 4 lighting modes i.e Uniformity- Non uniformity, Central-Peripheral, Bright-Dim, Warm-Cool lighting are described by taking the case of Copper pottery gallery.

Fig 12: John Flynn’s theory in main hall

Fig 11: Layout diagram of main hall

Lighting Mode

Light

Lighting Technique

Description Creating a visual hierarchy and focusing on the what needs to be highlighted.

NON UNIFORM

Strip Lighting, Integrated object lighting

Diffused Light & Ambient light

PERIPHERAL

Strip light

Indirect light

MODERATE

Ambient light

To focus on the lighted objects as well the highlighted architectural elements

WARM

Object display lighting

Diffused and warm white

Creates a welcoming ambience for an entrance space.

used to highlight historic elements

Richard Kelly’s Theory____________________________________________ Richard Kelly had categorised light in 3 tenets, i.e. focal light, brilliant light and ambient light. Here 2 tenets of lighting have been used in Main hall. Orange depicting ambient light yellow depicting focal light.There are 2 ambient lights in this space. One above the display unit and the other defining Double height. Ambient Light: To highlight the architectural element by peripheral lighting. Focal Light: Highlighting object by focussing individually on each display unit. Each display unit has its individual concealed lighting i.e. upward and downward diffused light. Fig 13: Richard Kelly’s theory in Main hall

Fig 14: Strip light i.e. lighting technique for display in Main hall

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1000mm * 700mm unit has a glass skin, and a strip running on the top, tracking down as shown in diagram, lighting the entire box. 3000K Light strip is used to light the copper idol in a box.

Lighting Dimention_________________________________________________ 2500 2500

2200

1600

950

2200

1200

3700

1200

1600

800

Main Hall 8800

2200

Fig 15: Dimention of display unit

2200

1600

Fig 16: Dimention of light in main hall

The 1060 sqft area has 2 types of light. i.e. Focused object lighting & Ambient lighting. It has 2 ambient lights. One which is running above the displays and other which is defining the double height space. Fig 1 shows the lighting pattern in display uni. Fig 2 shows the lighting fashion in the main hall.

Lighting Approach________________________________________________

Fig 17: light rendering in display unit of main hall.

Fig 18: lighting technique for diisplay unit in Fig(15)

Fig 19: Lighting technique for ceiling lighting.

1500mm * 1600mm display unit mounted on the wall is displaying copper idols. The red background enhances the copper with a warm yellow diffused light spilled from top and bottom as shown. Fig 16 shows the technique of lighting the red display while fig 17 shows the ambient light, running on top of each display unit. It highlights the details carved on the ceiling as well creates an ambience to the space.

Lighting Attribute_________________________________________________ The 1040 sqft area has 4 types of light. i.e. Strip lighting for object, Rope lighting for glass box, wall washer for double height and wall washer for hall ceiling. Light

Strip Light for Object

Rope light for glass box

Wall Washer for D.H.

CCT

3000K

Color

Warm white

Diffused Light

Ambient Light

Upward & Downward Concentrating Central-Non UniformWarm-Bright

Front diffusing

Upward Diffusing

Peripheral-NonuniformWarm-Dim

Peripheral- NonuniformWarm-Dim

Type Distribution Mode

Wall Washer for Hall 4000K

Peripheral- NonuniformWarm-Dim

Table 3: Attributes of light in Copper pottery gallery

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John Flynn’s Theory___________________________Marble Art Gallery_____ John Flynn’s 4 lighting modes i.e Uniformity- Non uniformity, Central-Peripheral, Bright-Dim, Warm-Cool lighting are described by taking the case of Marble Art Gallery.

Figure 20: Layout diagram of marble art gallery

Lighting Mode

Light

Lighting Technique

Description

NON UNIFORM

Strip Lighting, Spot lighting

Diffused Light & Focused Light

Focused to an individual idols, creating a non uniform environment. It allows a visual hierarchy

CENTRAL

Spot light

Direct light

helps in getting involved while passing through the display.

BRIGHT

Spot Light

Ambient Light

: Focused on the small and intrinsic details and carving on the idol.

COOL

Strip light and Spot Light

Direct and white Light

: Creates a spacious and modern environment.

McCandless Theory____________________________________________ PARAMOUNT LIGHTING: The lighting which comes from front and above the object. It creates a shadow directly below the object, beneath nose and chin. All the Idols here are lit by paramount lighting, through a 5000K pure white spot light, creating shadows and giving depth to that piece individually. Fig 22: Example of paramount lighting

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Lighting Dimention_________________________________________________ 1000

1000

1500

3700

1000

1500

2800

3700

2800

1500

2500

3700

Idol Gallery

Fig 23: Dimention of light in Gallery

Above represented is the plan of Gallery space having 26 spotlight and 6 individually installed ambient light for each pocket. Each spot light is dedicated to an individual display unit.

Lighting Approach & Lighting Attribute__________________________

Fig 24: Lighting technique for display in Gallery

Fig 25: Lighting detail for ceiling lighting

Light

Spot Light

CCT

5000K

Color

Pure white

Type

Focused light

Distribution

Downward Concentrating

Mode

Central-Non Uniform-CoolBright

Table 4: Attributes of Spot light in gallery

Light

Strip Light

CCT

5000K

Color

Pure white

Type

Ambient light

Distribution

Upward Diffusing

Mode

Peripheral-Non UniformCool-Dim

Table 5: Attributes of Strip light in gallery

The Lights are placed on a track in the ceiling and each spot light is dedicated to an individual idol. The angle of each light is kept according to the position of the display unit. The light falls from the front at an angle creating a paramount lighting and adds up shadow making it look more realistic.

The pure white strip runs in the ceiling creating an ambient light to the space. The shown detail of ambient light is fixed on the masonry wall and is supported by a wooden block on its periphery. Apart from highlighting the details ceiling in ceiling and creating an ambience, it defines each space individually as well gives a directionaly to the space.

Hence, The 630 sqft area has 2 types of light. i.e. Focused object lighting & Ambient lighting. There are 3 lighting theories used in this space, i.e. John Flyn’s Lighting modes, Richard Kelly’s Ambient and focal light and McCandless paramount light for lighting a sculpture. Ambient light is highlighting the details carved in the ceiling through a pure white strip light.

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Pleasure-Arousal-Dominance theory by John Russel_____________ John Russel divided experience into 3 parts, i.e. pleasure, Arousal and Dominance, which are described here by taking the case of 3 spaces. pleasure by Main hall and Arousal by gallery exhibition while dominance by circulation space.

Fig 26: The light making an impact in plan, highlighting pleasure

PLEASURE: The most imprinting experience which can be resembled later is the main hall. The double height lighted on its periphery, defining that space, the ambient light above the display unit and the arches all together makes an impact.

Fig 27: The light making an impact in plan, highlighting arousal

AROUSAL The most memorable space, bringing excitement or acts as an unplanned surprise. The Gallery space has a soft white bright space, with ambient and focal light making the space immense and makes visitors go and experience the space.

DOMINANCE: The governing factor of albert hall museum is the curated circulation. It has inflexible circulation which allows visitors to self guide. It has a defined walkway which appears significantly in the space. There are various factors which lead to experience arousal and pleasure in space. while there are certain factors which frames dominance as well. Below mentioned are the factors leading to Pleasure, Arousal and Dominance for Albert Hall. Highlighted ceiling

Defining double height

Focusing on object as well details

Soothing effect

AROUSAL

Bright white soft light

Creating Spaciousness

Highlighting ceiling

immense effect

DOMINANCE

Defined walkway

Self Guided

coherence experience

PLEASURE

Table 5: Factors leading to Pleasure, arousal and dominance in this museum

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Peak-End Theory__________________________________________________ Kahneman discovered 2 states, experiencing self and narrating self. and the 3rd is making memories through peak-end moments. Here the space is experienced by ‘experiencing self’. The peak moment is captured by the mail hall, ie.e copper gallery. There is as such no end moment in this space. It has similar display units followed till last space.

PEAK MOMENT: The experience which imprints by creating a special impression can be termed as peak moment. Here the entire space has display units, mounted against the wall. The leading factor for this peak moment is the double height space, having 2 layers of ambient light and the bright red displays, enhanced amongst them. EXPERIENCING SELF: Experience is created by self perceiving display units, which makes people experience the entire thing in an accepting way. Here the display lights the objects according to its characteristics. Fig 1: Displays in circulation space, light by strip light from front. Fig 2: Jewellery and small items lighted individually from top and bottom to look at small details carved in it. Fig 3: The arced display, where lights are concealed and allows upward and downward diffused light. Fig 4: The gallery space, where each sculpture/ idol is lit individually.

Satisfaction

Kahneman has described peak end momen to create memories. Below shown is the graph depicting the peak-end moment. It is the overall experience of the space captured by peak-end moment lense.

Peak

End

The graph represents the peak-end moment of the experience. In Albert hall museum, there are 2-3 peak moments by which there is no significant end moment. The experience drops and rises simultaneously as shown in the graph.

Fig 27: Peak end moment graph of museum experience

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FAMILIARITY - UNFAMILIARITY: The familiarity index increases by arranging layout resulting in a mundane environment and simplicity in space. The familiar atmosphere makes the space perceive by itself without experiencing. Hereby, the organised layout of display and the architectural elements highlighted in the image makes this space look familiar. A familiar space with good preference makes an accepting response. COHERENCE-COMPLEXITY: When the things are lightied in depth to shpwcase the carvings and small details through light, leads to complexity. The coherence is created by the dislay units, lighting up the shield while compexity o=is created by the ceiling lighting, where the light enhances the small details and carving. Coherence Complexity

Observations: 1. The environment provides enough clues in interpreting the exhibition, likely the channeled circulation in the museum, the organised display in each space, lighted according to the characteristics of each object, etc. 2. There are enough familiar elements like the double height, the arches which are translated into displays and the carved columns etc adds up to the mental matches with the prior environment. 3. The sense of environment in Albert hall museum directs to likeness and creates a positive preference to go around the apace and explore the objects displayed. The channeled circulation makes people go through each and every space in an organised manner makes it more coherence.

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Atmospheric lighting ______________________________________________

Carpet Gallery

Copper pottery Gallery

Marble Art Gallery

Shringara Rasa

Adbhuta Rasa

Shantha Rasa

Functional

Convivial

Discreet

Functional

CARPET GALLERY The carpet gallery has warm yellow, non flickery continuous ambient light, which gives a wall wash till 60-70 cms. The Chandelier gives a brilliant/sparkle light, which is non flickering neutral white light, visible through total internal reflection of crystals whih gives a shimmering effect. The object lighting throws a warm white continuous, nonflickering light, integrated in the display unit. By amalgamating the atmosphereic lighting in carpet gallery, it is conveying Shringar rasa. According to Louis Clair’s approach, it reflects functional environment. COPPER POTTERY GALLERY The Copper pottery gallery has warm white, non flickery continuous ambiet light, which gives a wall wash of 40cms. The ceiling lighting in single height has warm whitelight, running on the cornice, enhancing the small details. The display units has diffused up and down lighter light, against the red background. The multiple lights with different attribut of conveys Adbhuta rasa. Appling louis clair’s approach, it conveys Discreet and Convivial environment. MARBLE ART GALLERY The marble art gallery has neutral white light, falling directly on the idols through flood lights. It also throws light on the walls and creates a uniform atmosphere. The white light in the ceiling, hightlights the small details in a graceful way. The uniform lighting and neutral white light conveys Shantha rasa in the space. Appling louis clair’s approach, it conveys Convivial and functional environment.

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DIRECTION

CENTRAL PERIPHERAL

UNIFORMITY NON-UNIFORMITY

SPATIAL ATTRIBUTE

LOW

32%

50%

65%

CARPET GALLERY

HIGH

LOW

26%

13%

LOW

HIGH

89%

HIGH

79%

HIGH

COPPER POTTERY GALLERY

LOW

13%

22%

LOW

LOW HIGH

HIGH

87%

HIGH

78%

MARBLE ART GALLERY

• The

uplighter

and

downlighter

• A strip light running on the periphery of the glass box, displaying fabrics.

• The continuous uplighter light creates an ambience, while the down light highlights the carpet and chandelier acts as a point of brilliance. • The continuous uplighter lights creates an ambience while the object lighting is directed upside as well downside. • The flood spotlight highlights the idols as well creates an ambience by throwing light on the wall. The ceiling light enhances the character of the space.

i..e. the statistic data is achieved by calculating total area divided by the area which has peripheral lighting.

• Central lighting creates a sense of comfort and invitation as well gives a sense of volume

• Peripheral lighting adds up to the architectural character of space in heritage building, by enhancing architectural elements.

i..e. the statistic data is achieved by calculating total area divided by the area which has uniform lighting.

• Nonuniformity creates a visual hierarchy in experiencing the space.

• Uniformly creates a sense of space and allows to perceive the vastness.

OBSERVATION

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LIGHT POSITION

HORIZONTALITY

HIERARCHY

TASK LIGHTING

• The strip light lights the jail, enhancing the periphery of the space. • The strip light, with diffused up an down lighter lights are integrated in a display unit. Diffused light casts less shadow and creates less contrast to cut visual noise. • The ceiling has a continuous light, passing through the channel, and enhances the carving on ceiling through uplighter source.

• Horizontality space helps to achieve directionality as well the sense of space by bounding the area. • It enhances the architectural character of space as well provides ambient light and helps to create a visual boundary to space.

• Visual Hierarchy guides to lead the focus of vision. • Here, The yellow colored light catches the first attention followed by red and blue. • The order of vision in carpet gallery is Ambient light-object light and chandelier light. • The order of vision in copper gallery is ambient light-Ceiling light-object light. • The order in marble gallery is object light-ceiling light.

• Paramount lighting used to light the idol directly with spot light.

integrated light in display unit is used to light the objects in copper pottery gallery.

VALUATION

INFERENCE OF APPROACH TO APPLIED THEORIES

LIGHTING MODES

JOHN FLYNN Theory of lighting Mode Central-peripheral Uniform-Non Uniform Warm-Cool Bright-Dim

JOHN RUSSEL

CARPET GALLERY

COPPER POTTERY GALLERY

MARBLE ART GALLERY

i.e. the statistic data is achieved by analyzing total area and the area covered by each theory.

PLEASURE

AROUSAL

P.A.D Theory Pleasure Arousal Dominance

DOMINANCE

KANHEMAN PEAK MOMENT

Creating Memories

EXPERIENCING HALL

Peak Moment End Moment Experiencing self Narrating self

i.e. the statistic data is achieved by analyzing total area and the area covered by each theory.

ENVIRONMENT BUILDING

KAPLAN & KAPLAN

FAMILIARITY

COHERENCE

Environment building COMPLEXITY

Familiarity- Unfamiliarity Coherence-Complexity

i.e. the statistic data is achieved by analyzing total area and the area covered by each theory.

LIGHTING TENETS

RICHARD KELLY CARPET GALLERY

COPPER POTTERY GALLERY

3 Tenets of Lighting MARBLE ART GALLERY

Focal Light Ambient Light Brilliant Light

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i.e. the statistic data is achieved by analyzing total area and the area covered by each theory.

CAPTION

1. Carpet gallery: PeripheralNon Uniform-Dim-Warm 2. Copper pottery gallery: Peripheral- Non unif orm- DimWarm 3. Marble art gallery: CentralNon Uniform- Bright- Cool

1. The climax created by the soothing environment created in double height, bringing pleasure to see layers of different spaces through light. 2. The bright soft white light in Marble art gallery becomes the crowning point in the entire journey and imprints its image. 3. Dominancy created by channeled flow of circulation. 1.

The double height from 1st floor looking to the Copper pottery gallery on ground floor created an immense environment.

Jewelry display which has smaller details have additional light concealed in it.

The circulation is kept engaging by keeping displays on either side.

1. The familiar elements are highlighted in the given image. 2. The channeled way of showcasing the museum in a consistent manner is leading to coherence.

1. Carpet gallery: Yellow being focal light, orange being ambient and blue being the light of brilliance. 2. Copper pottery gallery: Orange being ambient light and yellow being focal light for object lighting. 3. Marble art gallery space: Yellow being the focal light and orange being ambient light in that space.

APPLICATION

Lighting modes by John Flynn • Peripheral lighting is used to create an ambience in Carpet gallery • Diffused concealed lighting is used to light objects while peripheral light for ambience. • Focused Bright light for lighting marble art gallery and peripheral for highlighting ceiling Pleasure-Arousal-Dominance • The white light defines the double height becomes the pleasure moment. • The White light evenly spread even though it’s not unif orm gives an exciting moment. • The governing factor in circulation, restricting flexibility makes it dominating. Peak – End Moment • Peak memory, which hereby is conceived by the ambient light defining double height. • There is no such end moment in albert hall museum. • The ‘experiencing self’ is used by functional lighting in displays which can be experienced by self explanation.

OBSERVATION

IMPACTS

• Enhances the elements of architecture • Enhances the object by focusing it • Enhances the idol by providing adequate light to see the details.

• Helps to create soothing effect.

• Enhances the idol to make it visually impactful • Enhancing a curated circulation in an organized manner.

• Enhances the first impression and acts as a tool of imprinting memory through light.

• Peripheral Lighting in heritage building helps to create a sense of placement and enhances the historic elements. Central lighting helps to perceive the entire space in one glance. • Non uniform lighting creates a depth by emphasizing on certain element likely the arches in this case for central area. Uniform light helps to create a non hierarchical vision. • Play of light color, temperature makes the space look more interesting. The lighting highlighting the details in the ceiling gives depth to that element. • By engaging them in experiencing the marble art gallery, creating a bright environment and ceiling light as an additional factor can lead to arousal.

• By reflecting or highlighting the identity of a heritage element and shaping it into a wow factor can create a peak moment.

Kaplan & Kaplan • Familiarity-Unfamiliarity: Here the scene created by familiar environment and wit a goof preference makes an accepting response • Coherence: The trail of circulation, one after the other, by amalgamating it through displays.

• The familiar environment makes the environment more friendly to explore the space. • Coherence allows one to follow a specific trail to experience other objects.

• Preference with high familiarity can lead to an accepting approach. • The coherence can be created by organized display following some defined fashion.

Richard Kelly • Focused strip light for lighting object, shown in yellow while diffused strip light for ambience shown in orange. • Concealed up and down diffused light is used to light the objects. • Focal spot lights are used to directly light idols and strip light for highlighting ceiling.

• The wall highlight adds up to the character of heritage building. • The diffused light allows enough light to evenly spread amongst the entire display unit. • The highlighted ceiling helps to observe the minute detail and craving as well as defines the space individually by creating spatial partitions.

• Highlighting an object can be achieved by focal light. • Highlighting architectural element can be achieved by ambient light, which here is achieved by strip lighting. • Highlighting some sparkle point or attention catching point can be achieved by brilliant light, which here is achieved by chandelier.

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06 CONCLUSION Evolution of Museum started by introducing it as a tangible space of display platforms, which can be held for public gathering. The changing social framework and the reforms of 18th and 19th century relationships were the incentives of the introduction of artificial lighting systems in museums and galleries. Museum remains open post evening allowing the working class to visit that place. Lighting is the most critical force behind the cultural and socioeconomic factor of society. Technology started to continue its development from imagination to execution. There are various factors which give a boost in inventing new lighting technologies. The Industrial Revolution is the major outbreak for lighting evolution in the 19th century. When looking at an old building, it flashes the curiosity of the glorious history of architecture and interior space in the past such as furnitures, structural elements, fittings, materials etc. Restoring old buildings into museums can save the building from decay and loss of heritage value. There are certain criterias for transforming an old heritage building into a museum i.e. Integrated History, Retaining original structure, Adapting a new function in the same space. Pushing the boundaries of innovation in order to achieve a perfect balance between art and technology is done by lighting design. Even so, they are already onto the next big thing called ‘integration’. So the question remains how to light a museum such that it results in the most effective means to generate a consistent optimum result for lighting a heritage shell with objects within? There are various nature of lighting design which enhance the architectural features in the building. This analysis has been done by various lighting designers and researchers. The observations have been taken from the qualitative lighting, where these theories have been analysed individually. The perceptual study in the museum was supported by environmental psychological studies. The case of 4 environmental psychologists and 4 lighting designers have been considered, where each theory talks about various factors contributing in enhancing the lighting in space. These studies have helped create meaningful spaces by understanding people’s psychology and help them celebrate the space. Supporting a narration in a museum becomes the primary factor and lighting contributes an important role in a museum. There are various theories on environmental psychologists and researches to be achieved in museums to enhance the spatial experience.

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Memories and past experience helps in associating one with the environment and establishes a relation with the space, and engaging to explore it. There are various lighting designers who contributed and came up with such theories explaining the implication of lighting in space with the help of such theories. This implication helps in enhancing the experience of museums and attracting more people to visit. There are 4 Environmental Psychologist’s Research is discussed in this thesis. The theory on lighting modes by John Flynn is dedicated to lights and its quality. The rest 3 theories are based on creating memorable experiences. Danial Kahneman’s approach, where he talks about the psychology behind creating peak moment and end moment to imprint the impression in generalised form and not just lighting. Mehrebian Russel’s theory of Pleasure-Arousal and Dominance talks about these 3 factors affecting the experience of museums. This theory is explained by an emotional state model by Russel, where he talks about the moods one wants to create using the parameters he discovered. For eg: Creating a doctile environment in a museum gives more preference to pleasure compared to arousal and dominance while for creating an anxious behaviour in the museum by displaying war like situation, arousal will be higher than dominance and pleasure. Pleasure is the climax scene in experiencing the space. The easy, smooth and calm space brings in the feeling of pleasure. It helps to create a mesmerizing effect. It creates The play of light i.e. the blue light adds in the charm and enhances the entire space. It is best observed in National history museum where the central hall creates a pleasurous moment through the play of lights. In German Ivory museum through the play to red and black color and the lighted display units in between enhances the space. In Kunsthistorisches museum the play of light in highlighting the ceiling helps to print the impression of pleasure. Arousal is the peak or surprise point which brings excitement in visitors. Linear expectation being converted into a surprise element creates an arousal in space. It is best observed in German Ivory Museum where the mirror becomes the element of surprise, the multiple light sources being multiplied in the mirror, causing internal reflection and creating infinite space and enhances the walkway to make it visually impactful. It is also observed in Kunsthistorisches Museum where the grand staircase with highlighted architectural elements through light and huge scale creates arousal on entering and highlights the architectural elements and makes an impressive impact.

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Dominance is the experience shaped in the end, which is governed by various factors and helps to bring a driving factor in the space which rests in the memory of people. It is best observed in National museum of Natural history where the interactive display controls the movement and Starry sky, created through multiple LED sources on a black ceiling leads to certain dominance in space and enhancing interactivity and creating a medium to connect with technology and history. It is also observed in German Ivory museum where the curated path makes the movement of the space one directional through a red concealed LED strip, creating certain dominancy. Peak-End Moment rule allows up to maximise the utilization of the brainpower and conserve cognition energy. Peak moment is best analysed in National museum of Natural histroy_ the entrance opens up the gate to central area, where the soothing lighting created a memorable experience, as well as in Kunsthistorisches museum where it Enhances the first impression and acts as a tool of imprinting memory By reflecting the identity of heritage museum and shaping it into a wow factor. End moment is best observed in Natural history museum where it completes the experience by involving people in an immersive display underwater experience. It enhances the scene of underwater life with small LEDs giving a sensorial experience. Kaplan and Kaplan’s theory Complexity-coherence makes the space deliver what is required. Coherence adds up to the lighting of the objects in a most justified way while complexity turns up to small details being highlighted through multiple layer of application of light. Coherence brings in a sense of perception, giving justice to the scale of the object. It is best observed in National History museum where the spot lights from the ceiling lighted up immensely creates an ambience and lights the display, giving a spatial perception to the space. Complexity in the environment relates to natural desire to engage and to provide active participation with the environment. It brings in certain stimuli and involvement. It is best observed in German Ivory museum where the objects are being highlighted by multiple light sources, emphasizing on the details. It allows to see the texture and materials as well as the small carving in the object. A comparative table, where the degree of environmental psychologist’s research is observed more in National Museum of Natural History, followed by German Ivory Museum.

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Coherence

Complexity

End Moment

Peak Moment

Dominance

Pleasure

Arousal

Natural history Museum German Ivory Museum Kunthistorisches Museum Bhau Daji Lad Museum Albert Hall Museum

Diagram 1.1 Matrix showing Environmental Psychologist’s theory application

Similarly 4 lighting designer’s design approach is studied and explained through. Richard Kelly’s lighting tenets of Focal. ambient and brilliant light, Rogier Van der heide’s theory of lightness and darkness and talks about darkness complimenting lightness and creating a contrast, which helps in enhancing the experience. The contrast of light and shadows helps in creating focus, beauty and mystery in space. William Lam’s theory of 4 context oriented lighting i.e. Activity based lighting, biological needs, Orientation and discernibility and McCandless’s theory of stage lighting, which is used to create a drame and scene in lighting the object according to its characteristic. He used the terms intensity, distribution, color, and control to achieve stage lighting. Play of Brilliance is point light sources can produce reflective or refractive materials. The light source itself can be also considered to be brilliant. Play of brilliance can bring in extra essence to ambience. It is best observed in German Ivory Museum where the lighted base acts as a reflective source and gives a floating effect. It is also observed in National museum of natural history, where the blue whale skeleton, suspended in the center of the space, lit by blue flood lights acts as a play of brilliance. Darkness plays a significant role along with brightness. Darkness compliments the lightness. Darkness in the space makes visitors concentrate on the particular object without interference. It is best observed in German Ivory museum where Darkness between displayed cases creates a sense of floating effect and complementing it with light can create a balance between the environment. The activity based perception is perceived by the task lighting on objects. It gives justice to the object. Unwanted layers of illumination becomes a visual noise. It is best observed in German Ivory Museum where it enhances the texture, material and color of the object. It is also observed in Roman and German antiques in Kunsthistorisches museum where the spot light from ceiling directly falls on the bust in a dim room. The biological based perception is perceived by stimulating the central hall with multiple light sources. it is best observed in Bhau Daji Lad museum where it enhances the stimuli and helps to translate the emotion through light.

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The orientation based lighting enhances the context and gives a reference clues in the space. It is best observed in Bhau Daji Lad museum where the orientation based lighting is perceived by inside outside relationship through windows. The connection with nature within the space gives a sense of time. It is also analysed in German ivory museum where it is perceived by the horizontality in the space.

Orientation

Discernibility

Activity needs

Biological needs

Play of Brilliance

Darkness

Discernibility is the decision factor of feeling of security within a visual environment, and giving a sense of volume and space. It is best observed in German Ivory Museum where it enhances the accentuated object through hidden light sources, creating a point of interest. The nature of enclosed areas contributes in a level of discernibility and makes the space a point of interest.

Natural history Museum German Ivory Museum Kunthistorisches Museum Bhau Daji Lad Museum Albert Hall Museum

Diagram 1.2 Matrix showing Lighting designer’s ideology application

A comparative table, where the degree of lighting designer’s ideologies is observed more in German Ivory Museum, followed by Bhau Daji Lad Museum. All these theories are associated with each other through different perceptions. Pg (65) shows the associative diagram of theories coming together. John Flynn’s lighting mode theory is associated with Richard Kelly’s lighting tenets and Rogier Van der Heide’s Lightness and darkness. By linking the connections of these theories, it results in experience based perception, Observation is defined in literal sense as well gives a binary opinion on it. P.AD. theory by John Russel is associated with McCandless lighting theory by linking the connections of emotional or mood based experience, subjective observation and translating the scene via emotion through lighting. Peak-end theory by John Kahnemam is associated with William Lam’s perception theory by linking them with Memory based perception, associating with past events and imprinting the memory. Kaplan and Kaplan’s theory is supporting the obvious observation and inference based experience using the Familiarity-Unfamiliarty and Complexitycoherence value. The associative links of connections between environmental psychology and lighting designer’s design approach have been overlapped and the experience is segregated in 4 different ways, which is described in pg no 65. The experience based perception is observed in Kunsthistorisches museum and German ivory museum, Mood and memory based perception is achieved in Bhau daji lad museum and German Ivory museum. The diagram 1.3 shows about

Lighting in Museums | 186

the associative links with case study. The diagram explains about the connection of case study with the theory. There are 5 such theories which are visible in every case study. Rogier Van der Heide’s theory can be strongly observed in German Ivory museum and Kunthestorcises museum. While William Lam’s design tenets can be found well applied in German Ivory museum and Bhau daji lad museum. Red text denotes Primary case study while Grey denotes secondary case study and Black denoting the theories.

Diagram 1.3 Associative links of theories with case studies.

As shown above, there are 5 case studies. Three secondary and two primary case studies whose qualitative study has been conducted in this thesis. A space can be perceived by categorising it into 3 lighting objectives i.e. Visuality, Spatiality and Atmosphere. Visuality gives a visual or functional approach to the space, spaciousness gives spatial approach in space and atmosphere gives an emotional approach to the space. Visibility in space gives a visual comfort and helps to enhance the visual impression. There are multiple aspects contributing to the visuality of the space. Visibility in space can be achieved by 2 ways i.e. Lighting attribute and design attribute. Lighting attributes enhance the space through brightness, contrast, reflections etc, while design attributes enhance the space through directionality, continuity, similarity etc. A visually impactful space creates an effective visual comfort. Brightness is a Visual sensation related to luminous intensity, provided from a concentrated source. It is best observed in Bhau Daji Lad museum, where the central hall is luminated with pendant lights and the roof is luminated by daylight coming from the side walls and is reflecting back that light in the Central hall.

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Contrast is a Visually dissimilation scenario, making the space stand out of the usual environment. It is best observed in National Museum of Natural History, where 2 complimentary colors, yellow and blue are used to light up the central hall. A certain depth is created by contrast. The peripheral walls are lit by the yellow spot and flood lights enhance the arches and columns while blue flood light is thrown on the suspended Blue whale skeleton enhancing the center piece. It is also strongly observed in German Ivory museum where a striking contrast is created through lightness and darkness and creates a dramatic environment. Reflection helps to catch an eye and works as a sparkle point in the space. It is best observed in German Ivory Museum, where the glass displays are supported by an illuminating base, creating an ambience in the unit. The display units give a floating effect due to the highlighted base in an intangible, almost imperceptible spatial envelope. The roman and greek antiques gallery in Kunsthistorisches museum also have a remarkable reflection through lighting up the busts through spot lights falling from the cornices in a dim room. As well as in National History museum where it has an incredible blue Whale skeleton suspended in the center, lighted with blue flood lights from the peripheral walls of the hall, which catches the eye on the first site. Texture is one of the most critical thing to be enhanced in a museum. It gives a sense of material, color of the object. Texture is best observed in Marble art gallery of Albert hall museum, where a 5000K pure white light is falling on an idol and the rough texture of that art piece is clearly visible. Color enhances the object displayed and simulates the senses more convincingly. it helps to highlight a specific area or zone or object. It is best observed in German Ivory Museum where the pier is cladded in red hue color leather which creates a striking color contrast in the space. The painting hall in Kunsthistorisches Museum has a red wall where the space is lit by diffused natural light from the ceiling and creating a convivial environment. Directionality acts as a way defining the system in the space and achiveing it through an intangible source enhances the experience. It is best observed in German Ivory museum, where the walking surface transforms into a seemingly suspended path in an imperceptible spatial envelope, by virtue of concealed LED light ribbons in its balustrade and directing the way by following that light. Continuity allows Eyes to move along the direction of light and links with other space, making into a seamless experience. It is best observed in German ivory Museum where the concealed LED light in the balustrade flows in a continuous manner and allows a certain liquidity in the space. Lighting in Museums | 188

In Kunsthistorisches museum, the artifacts are displayed on the periphery of the circulation path. The spot lights from the ceiling are focusing on the art piece. It also lights up the vaulted arch ceiling with spot light and the space opens up in another gallery, creating a continuous effect in the space.

Surface

Color

Directionality Continuity

Reflection

Texture

Contrast

Brightness

Surface on the back of an object makes the object deliver the most. Lighting up a surface creates a context to the object. It is best described in German Ivory museum where the Ivory pieces are kept in a glass box, lighted up with 3000K light and the diffusers are used on the base of the glass box to avoid its own reflection and glare.

Natural history Museum German Ivory Museum Kunthistorisches Museum Bhau Daji Lad Museum Albert Hall Museum

Diagram 1.4 Matrix showing degree of Visibility

A comparative table, where the degree of visibility is observed more in German Ivory Museum, followed by Kunsthistorisched museum. These museums have a strong visual comfort. Spaciousness defines the space with a spatial approach which helps to perceive the intangible boundaries and partitions created within space. The spatial factor in a museum governs the perceptual experience and makes the space more focused on intangible factors. Spaciousness is achieved in 2 ways, i.e. design attributes and lighting attributes. Lighting attributes enhance the space through Central. peripheral,uniformity etc while design attributes enhance the space through scale, form, proportion etc. By enhancing those intangible aspects through light in an architectural shell can create a correlating value to the space. Central Lighting gives a sense of volume and makes the space visually inviting. Central lighting is best observed in Bhau Daji Lad museum where the central hall is lit by natural light entering from top and illuminating the space. The homogeneous lighting created in the center enhances the space and gives a sense of volume. Peripheral lighting gives a sense of placement and enhances the architectural elements in the space. It is best observed in National museum of natural history where warm yellow lights are used to highlight the arches and columns. It adds up to the context and tells a story of building and adds up the value beyond just the functional approach.

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Uniform lighting is a uniformly organized experience, which makes an easy translation of space as well the objects. It is best observed in painting galleries of Natural history museum and kunsthistorisches museum, where the diffused soft white light is falling on the paintings. Diffused light avoids glare in the space and makes the space look more analogous. Non Uniform lighting encourages visual hierarchy and helps in curating the space according to the light. It governs the flow and pattern as well as gives emphasis on significant elements. Nonuniformity is best observed in German and greek antiques in Kunsthistorisches museum where the busts are lighted up with soft white light in a dim space. The busts feel like floating in space. It is also achieved in German Ivory museum where black box is created with just lighting up display units and walkways. Entire context is blackened out and the visual hierarchy takes up directly to each display unit. The scale acts as a relative tool with other elements. Scale gives a sense of perception to the space. It is best observed in Kunsthistorischies museum entrance, where the grand staircase in the space gives a sense of scale. It’s lighted with a diffused entrance lighting giving a sense of volume as well as peripheral lighting, enhancing the architectural elements.

Form

Non Uniform Scale

Uniform

Peripheral

Central Lighting

Form defines the space. Intangible source enhances the form and makes it perceivable. Light creates an intangible boundary and defines the space. It is best observed in National Museum of natural history where objects are displayed in individual arched pockets. The ambient light is falling on the floor and is reflecting back on the roof, defining the form of arch. Similar attempt is done in circulation space where the uplighter lights are defining the form of the ceiling.

Natural history Museum German Ivory Museum Kunthistorisches Museum Bhau Daji Lad Museum Albert Hall Museum

Diagram 1.5 Matrix showing degree of Spaciousness

A comparative table, where the degree of spaciousness is observed more in National Museum of Natural History and Kunsthistorisches Museum followed by German Ivory Museum and Bhau Daji Lad museum. These museums have a strong spatiality factor.

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Atmosphere in the space helps to perceive emotion based experience. This mood based approach makes the space perceivable by stimuli. Atmosphere is achieved in 2 ways, i.e. Indian approaches and Louis Clair’s approach. Lighting attributes enhance the space through Shringar Rasa, Hasya rasa etc while Louis Clair’s approach enhances the space Magnificent, Theatrical, discreetness etc. The emotionally impactful space stimulates the perception and gives a sensorial experience throughout the journey. Shringar Rasa connects to devotion, appreciating beauty and love. It is used to translate an affection in narration. Shringar Rasa is best observed in Bhau Daji Lad museum where the warm white diffused, non flickering hanging pendant light in the periphery, where the small crafted details are being highlighted, and small multiple light sources are visible. It gives an imperial feel to the space. Hasya Rasa connects to humor and laughter, appreciating happiness and contentment. It is used to translate blissful and pleased narration. It is best observed in Kunsthistorisches museum gallery hall where the soft white diffused, non flickering ceiling light against the red wall is used to light up the entire hall in uniform fashion. It creates a light mood in space. Veer Rasa connects to the bravery, appreciating confidence and pride. It is used to translate strong and vibrant narration. It is best observed in German Ivory museum where the floor mounted display has warm white direct focal light, with a hidden light source, falling on the red background creates a brave and vibrant mood. Adbhuta rasa connects to curiosity and mysterious nature. Used to translate playfulness and innocence in narration. It is best observed in German Ivory Museum where the Ivory pieces are brightly lit by the soft white soft lights. The brightly lit base of display which in the dark context creates a floating effect gives an element of surprise and creates curiosity. It is also observed in Bhau daji Lad museum where the imperial interior with various retrofitted lighting and ornamentations adds up to create a wow factor. Magnificent mood is achieved through play of colors and intensity of light along with the element of surprise. It is best observed in National Museum of Natural History where 2 complimentary colors are used to achieve that mood. he yellow color lights te architectural elements and the blue spill light adds up the charm to that space. Convivial mood is achieved by accumulating happiness and joyfulness along with the happening space. it is best observed in the gallery of National museum of natural history, Painting gallery in Kunsthistorisches museum and Marble art Gallery in Albert hall

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museum All these spaces have a soft white uniform lighting, creating a joyous environment.

Discreet

Magnificent

Convivial

Veer Rasa

Adbhuta Rasa

Shringar Rasa

Hasya Rasa

Discreet Lighting is achieved by added effort in knowing the object’s properties. It gives a subtle translation of the space. It is best observed in Bhau Daji Lad museum where the imperial interior is discreetly lit up through multiple light sources. It creates a safe play to the space.

Natural history Museum German Ivory Museum Kunthistorisches Museum Bhau Daji Lad Museum Albert Hall Museum

Diagram 1.6 Matrix showing degree of Atmosphere

A comparative table, where the degree of atmosphere is observed more in National History museum and German Ivory museum, followed by Kunsthistorisches museum and Bhau daji Lad museum. These museums have a strong mood based lighting. Hence, these case studies are associated with others by some common factors. The below diagram 1.7 shows the associative diagram for the museums, listing the common factors affecting the experience of the space. NATURAL HISTORY MUSEUM

GERMAN IVORY MUSEUM

ALBERT HALL MUSEUM

KUNSTHISTORISCHES MUSEUM

NATURAL HISTORY MUSEUM

GERMAN IVORY MUSEUM

Integrated light for object display in glass case, with spot light and ambient light within.

KUNSTHISTORISCHES MUSEUM

The sense of Immensity and scale due to diffused light.

ALBERT HALL MUSEUM

BHAU DAJI LAD MUSEUM

Highlighting architectural elements with spot light in the central volume.

Darkness plays a major role in Lighting the space. Emphasis given to darkness in order to experience light. Direct spot lights are used to light idols. Secondary lights are used to light up the ceiling.

Experience based on Perception of space. The memory created in the space helps to perceive the unexplored museum.

The small details and ornamentations are being highlighted by the ambient light.

The peak moment is created by the well lit double volume. There is no specific end moment in both the cases.

Diagram 1.7 Comparision of associative links with case study

Hence there are multiple factors affecting in lighting the museum for a successful lighting solution. These qualitative lighting helps to create such successful lighting solutions and makes the experience more memorable, appreciable and celebrates the built environment. Quality of lighting can make wonders. The Indian museums have some conscious decisions on lighting but compared to international museums, they have less degree layers of application. When a right light is at a right place, and most objects have justified lighting creates a coherence. Indian examples lack in

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BHAU DAJI LAD MUSEUM

coherence. Complexity is through multiple layers of light, applied in a single space, which is fairly visible in Indian museums. The chosen secondary case study has a conscious lighting solution, and by studying those qualitative approaches and carefully implementing them can enhance the museum practice in India. International museums have a strong contrast through lighting, creating a dramatic response in space, which have been lacking in Indian cases. The context also plays a main role in proper illumination of space. India examples have more or less layer of illumination then required while International cases have an adequate amount of light, required to light each element. Due to lack of control system and screen setting in space, it often lacks in scenography. Hence, Indian museums focus more on the function of seeing the objects with light rather than enhancing the spatial experience. From creating anticipation on arrival to communicating drama or contemplation within the exhibition space, lighting has a key role to play. In the Natural History museum, the arrival is defined by the central Hintze hall while the space delivers a functional, magnificent, calm and convivial atmosphere. In German Ivory museum the arrival is defined by a black box, focussing on the walkway and display units in an contextless environment while the space delivers a functional, convivial, playful and mysterious atmosphere. In Kunsthistorisches Museum, the arrival is defined by the grand staircase giving a sense of scale while the space delivers a playful, theatrical, functional and Mysterious atmosphere. In Albert hall the arrival is defined by Carpet gallery which anticipates in creating a sense of royal space with very less degree of application and the space delivers a convivial, discreet and functional atmosphere. In Bhau Daji Lad museum, the arrival space is defined by the central hall, giving a sense of royal interior and it delivers Magnificent, Imperial, convivial and playful atmosphere. There is more to a museum then what it displays. The lighting of museum and galleries needs to highlight and accentuate the texture, color and pattern to achieve that, Lighting objective i.e. Visibility, spaciousness and atmosphere are used to obtain the particular lighting. The lighting attributes of lighting objectives are used to create a visual impact to space while the spatial approach gives a perceptual impact to the space. The environmental psychology theories used by designers help create meaningful spaces that add value beyond just a function of seeing with light. These theories help to enhance the tangible things more adequately. These lighting approaches created by the above lighting techniques make the experience more immersive and influential. Hence, Conscious and creative decisions pertaining to quality of light helps to achieve immersive experience in heritage building, which makes experience more memorable, appreciable and celebrate built heritage.

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1st Review Comments - 28th January • Sample out one case study to get to all the listed parameters • Aim on objects lighting in museum rather then just the interior elements. • Work on scope of Thesis • Define perception • Try to amalgamate the lighting of interior and architectural lighting. Reflection: The scope of the thesis was further modified to the approaches on nature of lighting design based on psychological environment theries.

2st Review Comments - 7th February • Can add perceptional theory along with environmental pschycology. • Emphasis on Theory based lighting along with perception based lighting. • Define Parameter required to measure enhancment through light. • Lighting nees to be experienced, so insted of secondary cases, go with primary ones. • Can carry out entire thesis with one thorough case study, applying all the parameters. Reflection: Added Lighting designers ideology along with environmental pschycology theory. Parameters of lightign design were added based on lighting objectives.

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Unpublished works & Thesis__________________________ Sylvania, F. Lighting for musuems and galleries.PDF. Europe Ikonomidis, A.(1990). Adaptive reused and the Museum: Installing a musuem in a preesisting shell. Greece. National Technical University of Athens Alderson.C.(2009). Upgrading historic building lighting. USA Rao, C. (2018). Understanding the quality of lighting as spatial element in branding environments : a case study in brand experience centers. Ahmedabad. CEPT University

Videos________________________________________________ Baldwin, E. (2019) GBO and Aworks Design Futuristic Technology Museum for Seoul. Retrived from https://www.archdaily.com/919672/aworks-and-gbodesign-futuristic-technology-museum-for-seoul Trischler, A. (2019) Kunsthistorisches Museum Vienna. Retrived from https:// www.youtube.com/watch?v=hbdvkjMO9H8 Professional, M. (2015) Shedding light on natural history. Retrived from https:// www.youtube.com/watch?v=P9NtLPtpBEk Mystery makers. (2019) Mystery Hunt: The Kunstkammer at Kunsthistorisches Museum Wien. Retrived from https://www.youtube.com/watch?v=-l-EIw-Bz8Y

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Figures________________________________________________ Fig 1.2.1 Retrived from https://images.app.goo.gl/8MG8pb71AZT2Ho358 Fig 1.2.2 Retrived from https://blog.nms.ac.uk/app/uploads/2017/03/gas lighting-in-the-museum.jpg Fig 1.2.3 Retrived from https://www.trawell.in/admin/images/upload/547012735ManjushaMuseum_Main.jpg Fig 1.2.4 Retrived from https://www.standardpro.com/lighting-museums-andart-galleries/ Fig 1.2.5 Retrived from https://static.dezeen.com/uploads/2017/11/londonmithraeum-museum-opening-architecture-cultural_dezeen_hero-1jpg Fig 1.3.2 Retrived from https://www.artnews.com/wp-content uploads/2019/ 01/unnamed.png Fig 1.3.3 Retrived from https://www.inexhibit.com/wp-content/uploads/2014/ 01/Museo-Sant-Agostino-Genova-Inexhibit-05.jpg Fig 1.3.4 Retrived from https://lh3.googleusercontent.com/proxy/xEOGjzZt2a Up-k grgKw8gs-EmmObzqXsL6iZ1WFnM0s4tbwICb0QZ1MN1dv S2RNr_HID0xc6YPQ-lMMT7q99RGdKOEvn3XRzVmuaLQKTQN9 ZFMQGxHQE4 Fig 1.3.5 Retrived from https://www.beautyfromitaly.it/wp-content/uploads/20 18/05/Buonarroti-Michelangelo-piet%C3%A0-Rondanini.jpg Fig 1.4.1 Retrived from Retrived from https://i.pinimg.com/originals/36/cf/28/ 36cf2883557f792f8717f832c27b16ac.jpg Fig 1.4.2 Retrived from https://cdna.artstation.com/p/assets/images/images/0 00/456/214/large/pablo-lassalle-lobby-00000.jpg?1423236681 Fig 1.4.3 Retrived from https://images.adsttc.com/media/images/5d10/effb/2 84d/de4/1700/01c3/slideshow/09.jpg?1561391071 Fig 1.4.4 Retrived from https://www.archdaily.com/919672/aworks-and-gbo -design-futuristic-technology-museum-for-seoul Fig 2.1.4 Retrived from https://libeskind.com/wp-content/uploads/A735323cHiroshima-MoCA.jpg Fig 2.1.5 Retrived from https://s3.amazonaws.com/exposure-media/ production/posts/326127/cover-photo/cover-1548335844. jpg?w=900&q=50&sharp=10&fit=crop&fm=pjpg&auto=format

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Fig 2.1.6

Retrived from https://infos.parisattitude.com/wp-content/uploads/20 14/09/Galerie-de-Levolution-Knowtex.jpg

Fig 2.1.7

Baldwin, E. (2019) GBO and Aworks Design Futuristic Technology Museum for Seoul. Retrived from https://www.archdaily.com/91967 2/aworks-and-gbo-design-futuristic-technology-museum-for-seoul

Fig 2.1.10 (i) Retrived from https://encrypted-tbn0.gstatic.com/images?q=tbn%3 AANd9GcTmJo6p4H7e9BCxYpbiH4sLQzdlmmXLpq5L-nman1LOa a7x7gU4&usqp=CAU (ii) Retrived from https://images.adsttc.com/media/images/5004/cbb 3/28ba/0d4e/8d00/02e0/slideshow/stringio.jpg?1414527946 Fig 2.1.12 Retrived from https://vanda-production-assets.s3.amazonaws.c om/2019/12/11/11/44/59/fd04f867-6614-45eb-9657-9b934c 3fa619/members-welcome-tours-mornings-early-2020_960.jpg Fig 2.1.13 (i) Retrived from https://www.travelcaffeine.com/wp-content/uploa ds/2017/05/musee-orangerie-art-museum-paris-france-227.jpg (ii) Retrived from https://www.missclaire.it/wp-content uploads/2017 -/05/Miss_Claire_Vienna_II-1033.jpg Fig 2.1.14 Retrived from https://p.ledinside.com/led/2013-12/1388372-181_ 63330.jpg Fig 2.1.19 Retrived from https://i.pinimg.com/originals/d7/55/53/d7555330ab 6aef765fa5f49b2c55e028.jpg Fig 2.1.23 (i) Retrived from https://www.constanciobernardo.com/uploads/3/5 /5/3/3553320/constancio-bernardo-ayala-museum-10_orig.jpg (ii)https://i.pinimg.com/originals/36/cf/28/36cf2883557f792f8717 f832c27b16ac.jpg Fig 2.1.26 (i) Retrived from https://amp.thenational.ae/image/policy: 1.673637:1573400963/wk21-SEP-louvre-general.jpg?f=16x9& w=1200&$p$f$w=e1f8a66 (ii) Retrived from https://www.euroweeklynews.com/wp-content/ uploads/2013/01/54bd3d4841b8244e456ecd0eb2457a561200x900.jpg (iii)Retrived from https://www.discoverwalks.com/blog/wp-content/ uploads/2015/04/orangerie-paris-big-1280x720.jpg (iv)Retrived from https://www.indiaheritagewalks.org/sites/default/ files/2019-07/RAJA%20RAVI%20VARMA%20GALLERY%20 -190703.jpg

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Fig 1.2.28

(i) Retrived from https://saltaconmigo.com/blog/wp-content/uploads /2017/10/Italia-Florencia-Duomo-Museo-Opera-Campanile.jpg (ii)Retrived from https://images.adsttc.com/media/images/57fe/70d4/ e58e/cee5/2200/000b/large_jpg/checklist_exhibitiondesign_ArtOf Moto-exh_ph12.jpg?1476292817

Fig 2.2.2

Retrived from https://encrypted-tbn0.gstatic.com/images?q=tbn%3A ANd9GcTmJo6p4H7e9BCxYpbiH4sLQzdlmmXLpq5L-nman1LOaa 7x7gU4&usqp=CAU

Fig 2.2.3

Retrived from https://www.usaveled.com/wp-content/uploads/2014 /06/museum-led-lighting.jpg

Fig 2.2.4

Retrived from https://d32dm0rphc51dk.cloudfront.net/MY6rfUYiBp_ ujYkxghOzNA/large.jpg

Fig 2.2.5

Retrived from https://i.redd.it/ammc38qhyc431.jpg

Fig 2.2.6

Retrived from https://nmaahc.si.edu/sites/default/files/styles/image_ caption/public/images/captioned/2016ak11_238.jpg?itok=0ANP_ Coz

Fig 2.2.7

https://www.romesightseeing.net/assets/img/en/Vatican-museum.jpg

Sylvania, F. Lighting for musuems and galleries.PDF. Europe Fig 4.3.1 4.3.2,4.3.4, 4.3.5

* Rest all the images from the above list are done by author * All the Tables and diagrams are done by author

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