PERCEPTION OF

LIGHT & SHADOW IN

MUSEUM

MIRUDHULA
SYNOPSIS
AIM:

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

The objective of this research is to address & intellect

1. The importance of light and shadow in museum.

2. Understanding the daylight and artificial lighting factors and how it directly impacting lighting design and how humans experience the space.

3. Lighting techniques used in museum.

4. Addressing the merits of lighting and shadow in museum.

5. Analyzing the consideration in aspect of lighting.

6. Findings and discussion of different strategies of natural lighting and shadow using model.

7. Conclusion and recommendations.

SCOPE :

Psychological, physiological and experiential components are observed in the museum environment to analyze lighting design within its exhibits.

Design possibilities with light in museum are however not only limited to the display of art. Research shows how light is abl e to upgrade exhibition spaces to become qualitative cultural brands – ranging from the e
garden to the shop & café .

LIMITATIONS :
The research limited to the study of natural light to focus on only exhibit areas .
2/7/20XX 2
METHODOLOGY
 UNDERSTANDING THE TOPIC

FORMULATING RESEARCH OBJECTIVE

SCOPE & LIMITATIONS

STUDY & DATA IDENTIFICATIONS

LITERATUE STUDY CASE STUDY

FORMULATING TECHNIQUES

ANALYSIS

CONCLUSION

Sample Footer Text 4

 INTRODUCTION

The museum design will guide the visitors t o discover, explore and learn

about history in a creative environment. Lighting plays a significant role in

developing interaction between humans and museum artifacts

in one defined space." The goal of a museum is to creat e an int eract ive

experience for the guests, as well as preserve the condition of artifacts.

Lighting is a critical component in a museum environment because the

space enables visitors t o see objects, experience new sights and react to the

surrounding environment . For a museum, the role of light is an essential part of

creating an atmosphere prime for discovery, while also preserving artifacts.

Illumination Engineering Society of North America (IESNA)

provides parameters and standards for lighting design in a museum to ensure

safety, preserve artifacts, and create an interactive experience for guests of all
ages.

5
HISTORY OF MUSEUM
 ETYMOLOGY OF MUSEUM
The museum, as a cultural organization, outlines a long history over time. The word museum has its
origins to ancient Greece. It comes from the Greek word “Μουσεῖον”, which means “seat of the Muses”.
The nine Muses were goddesses who protected the arts and were sources of inspiration, according to
Greek mythology. The later use of the Latin derivation refers to places of meditation and philosophical
discussion. This role of a museum-sanctuary in ancient Greece, as a spiritual space that combines arts
and sciences, is a forefront in the intellectual culture of societies.

Nowadays, as defined by the International Council of Museums (ICOM): “A museum is a non-profit,

permanent institution in the service of society and its development, open to the public, which acquires,
conserves, researches, communicates and exhibits the tangible and intangible heritage of humanity and
its environment for the purposes of education, study and enjoyment.”

Museums are institutions that exhibit the past and present of societies for education and enjoyment.
Their functions and audience is constantly evolving, but through time their primary duties include
collection, conservation and display. The role of architecture in museum designing comes to the forming
of space and the exhibition of objects, but should also create a story.

Sample Footer Text 7

 EVOLUTION OF MUSEUM
ARCHITECTURE Mesopotamia of 530 B.C contained the
530 B.C First recorded museum , that Ennigaldi-Nanna .

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

400 ad Greeco roman period

Renaissance period First museum

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

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

Modern museum.
Present

2/7/20XX 8
HISTORY OF LIGHT
 HISTORY OF To the best of our archaeological knowledge, the first attempt at
man-made lighting occurred about 70,000 years ago. The first lamp

LIGHT was invented made of a shell, hollowed-out rock, or other similar

non-flammable object which was filled with a combustible material
(probably dried grass or wood), sprinkled with animal fat (the
original lighter fluid) and ignited. As time passed, materials such as
pottery and alabaster were used. Wicks were added to the lamp to
control the rate of burning. Around the 7th century BC, the Greeks
started making terra cotta lamps to replace handheld torches. In
fact, the word lamp is derived from the Greek word lampas
meaning torch. Lamp developments continued but still used the
same basic technology-control the burning of a fuel (natural oils,
waxes, and the like) with wicks, tubes, chimneys, vents, and other
similar devices, and put it in an attractive and/or practical housing.

2/7/20XX

Sample Footer Text 10

LIGHT
 TYPES OF NATURAL LIGHTING

TOP LIGHTING LATERAL LIGHTING

Side lighting is a lighting technique that directs a

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

Sample Footer Text 12

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

DF = (Ei / Eo) x 100%

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

Sample Footer Text 2/7/20XX 13

 DAYLIGHTING IN BUILDING DESIGN

• Daylighting is the controlled admission of natural

light into a space through windows to reduce or
eliminate electric lighting.
• By providing a direct link to the dynamic and
perpetually evolving patterns of outdoor
illumination, daylighting helps create a visually
stimulating and productive environment for
building occupants, while reducing as much as
one-third of total building energy costs.

Sample Footer Text 2/7/20XX 14

 BENEFITS OF DAYLIGHTING
Daylighting has the potential to significantly improve life-cycle cost, increase user productivity,
reduce emissions, and reduce operating costs:
• Improved Life-Cycle Cost and Increased User Productivity: Daylight enlivens spaces and has
been shown to increase
user satisfaction and visual comfort leading to improved performance.
• Reduced Emissions: By reducing the need for electric consumption for lighting and cooling,
the use of daylight
reduces greenhouse gases and slows fossil fuel depletion.
• Reduced Operating Costs: Electric lighting accounts for 35 to 50 percent of the total electrical
energy consumption in commercial buildings. By generating waste heat, lighting also adds to
the loads imposed on a building's mechanical cooling equipment.

Sample Footer Text 2/7/20XX 15

 EFFICIENT DAYLIGHTING - ENERGY SAVINGS

• The energy savings from reduced electric lighting through the use of daylighting strategies can directly
reduce building cooling energy usage an additional 10 to 20 percent.
• This is because in many cases, artificial lighting strategies can increase the ambient
temperatures in a room.
• Consequently, for many institutional and commercial buildings, total energy costs can be reduced by as
much as one third through the optimal integration of daylighting strategies.

Sample Footer Text 2/7/20XX 16

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

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

Sample Footer Text 2/7/20XX 17

 DESIGN STRATEGIES
• Filter daylight. The harshness of direct light can be filtered with vegetation, curtains,louvers, or the like, and
will help distribute light.

• Reflect daylight within a space to increase room brightness. A light shelf, if properly designed, has the
potential to increase room brightness and decrease window brightness.

• Understand that different building orientations will benefit from different daylighting strategies; for
example light shelves which are effective on south façades are often ineffective on the east or west
elevations of buildings.

• Exterior shading - In hot climates, exterior shading devices often work well to both reduce heat gain and
diffuse natural light before entering the work space.
Examples of such devices include light shelves, overhangs, horizontal louvers, vertical louvers, and
dynamic tracking or reflecting systems.

• Aperture location - Simple side lighting strategies allow daylight to enter a space and can also serve to
facilitate views and ventilation. A rule-of-thumb is that the depth of daylight penetration is about two
and one-half times the distance between the top of a window and the sill.

Sample Footer Text 2/7/20XX 18

Sample Footer Text 2/7/20XX 19
IMPORTANCE OF
DAYLIGHT IN MUSEUM
 • Museum designs incorporate daylight because humans relate to nature. "Natural Light
can be used to great effect to dramatize and enliven the design of any building .”
• Light defines a space within a building’s design.
• Daylight always fluctuates and often is fused in interactive spaces.
• Cloud cover, season, the time of day and a building’s position are factors directly
impacting lighting design and how humans experience the space.
• The amount of daylight penetrating the museum interior must be given serious
consideration to understand how natural light impacts the space.
• Factors such as reflection, glare, acclimation and delineation in the space should be
analyzed closely.

Sample Footer Text 21

LIGHTING DESIGN
CONSIDERATIONS
To have a successful lighting design, lighting designers have particular considerations
that affect lighting on space, objects, and purpose. Color rendered, color temperature,
texture, form, viewing angles, layered light and maintenance are all factors that
contribute to the whole. An understanding of these factors allows the lighting designer
to fuse lighting elements with an architectural designed space to create an effective
and functional design for humans to interests and experience the space.
• Color Rendering Index
• Color Temperature
• Form, Texture, & Artifacts
• Layering Light

23
STYLES OF LUMINAIRES
Luminaires are characterized by the way light is
distributed. “Light fixtures are the luminaires that
are permanently attached to the building” . There
are several other luminaire types including:
• Direct
• indirect
• diffuse
• direct/indirect
• asymmetric uprights
• downlights and adjustable.

2/7/20XX 25
Sample Footer Text 2/7/20XX 26
Sample Footer Text 2/7/20XX 27
NET CASE STUDY
Sample Footer Text 2/7/20XX 29
Sample Footer Text 2/7/20XX 30
LIVE CASE STUDY
 The Baha'i House of Worship, popularly known as the Lotus
Temple is not only a symbol of excellence in modern Indian
architecture but also one of the most visited religious buildings
in the world. The Temple located on a 9.7-hectare site near
Nehru Place in South Delhi, is a place of worship open to all
races, religions and castes.
The form of this House of Worship takes the shape the lotus, a
flower considered sacred by most Indians. It is designed to
reflect the simplicity, clarity and freshness of the Baha'i Faith
and to act as a symbol of the unity of mankind and religions.

The architect, Fariborz Sahba has attempted to make this

building familiar and acceptable to the Indian people without
imitating any of the existing architectural schools of India. The
basic idea of the design is that two fundamental elements -
light and water - have been used as ornamentation in place of
the statues and carvings normally found in Indian temples.
The structure is composed of three ranks of nine petals each,
springing from a podium which elevates the building above the
surrounding plain. The first two ranks curve inward, embracing
the inner dome, while the third layer curves outward to form
canopies over the nine entrances.

Sample Footer Text 2/7/20XX 32

 The double-layered interior dome, modelled on the innermost portion of the lotus, comprises 54 ribs with
concrete shells in between. The central hall has a diameter of 34 metres and a height of 33.6 metres
above the podium.
It is ringed by nine arches which provide the main support for the superstructure. With a seating capacity
of 2,200 the hall has no idols, no photographs and no priests. Besides the main hall, the complex consists
of an ancillary block with a reception centre, a library and an administrative office.

The reinforced-concrete petals are clad by white marble panels, done to fit the surface profiles and to
patterns related to the structure's geometry.
White marble also covers all the interior floors, while the insides of the petals are bush-hammered
concrete. The walkways and stairs in the podium are finished in the local red sandstone

Sample Footer Text 2/7/20XX 33

 The entire superstructure is designed to function as a series of skylights with
glazing at the apex of the inner petals, underneath the outer petals and on
the external side of the entrance petals. Light thus filters into the central hall
in the same way as it passes through the lotus flower.
Nine reflecting pools surround the building, their form suggesting the leaves
of the lotus. External illumination is so arranged as to make the lotus
structure appeal floating on water. The building embodies effective
ventilation and cooling techniques. Fresh air, cooled as it passes over the
fountains and pools, is drawn in through openings in the basement up into
the central hall and expelled through a vent at the top of the structure.

Sample Footer Text 2/7/20XX 34

Sample Footer Text 2/7/20XX 35
Sample Footer Text 2/7/20XX 36
COMPARATIVE STUDY

1.STATIC
2.DYNAMIC
Sample Footer Text 2/7/20XX 38
Sample Footer Text 2/7/20XX 39
KIMBEL ART MUSEUM
JEWS MUSEUM
GUGGENHEIM MUSEUM
FLORIDA MUSEUM OF NATURAL HISTORY
LOUVRE MUSEUM

2/7/20XX 40
THANK YOU .

41