Professional Documents
Culture Documents
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Contents
Visual experiences 1
Revolving exhibitions 10
Audiovisual media 14
Lecture room 15
Library 16
Study room 17
Workplace lighting:
office, workshop, storage
EXHIBITS IN SHOWCASES
facilities 19
Outdoor exhibits 20
Night scenes 21
Daylight 22
Lighting management 24
Light protection 30
Maintenance 33
Lamps 34
FREE-STANDING EXHIBITS
Luminaires 38
Acknowledgements 43
Imprint 44
1
The action of light
Route lighting
In some exhibition rooms,
visitors are free to move
around in any direction. In
many others, however, be-
cause of the nature of the ex-
hibition or for organisational
reasons, they need to be ‘di-
rected’. Luminaires which
highlight routes without inter-
fering with the display areas
on either side are a practical
solution for this task. Also
practical – and stylish as well
– is (additional) floor-level
orientation lighting, e.g. with
LED lighting strip.
2
Fig. 2: Directional lighting for the
wall, diffuse lighting for the room
3
The action of light
Luminous ceilings
The idea of luminous ceil-
ings stems from a desire to
imitate daylight. Luminous
ceilings deliver light which is
particularly suitable for
painting galleries – predom-
inantly diffuse with an opal
enclosure, partly directional
with enclosures of sa-
tinised/textured glass. The
heat that is generated in any
luminous ceiling needs to
be dissipated or extracted.
4
quality and looks grey and buildings are models with kick reflector protruding Spot lamps
oppressive. All luminous housings which themselves from the ceiling) or mount- Reflectors in reflector lamps
ceilings – including day- form the coving. ed close to the ceiling, they (used in luminaires with no
lighting installations – need should illuminate the walls reflector) or spots direct
to be designed by a spe- The main direction of light as uniformly as possible. most of the light emitted by
cialist. with cove lighting is closer This task is performed by punctual light sources in a
to the horizontal than with a reflectors with asymmetrical defined beam direction.
Indirect luminaires luminous ceiling and corre- optics. It is important to en- Spots and downlights with
An impact similar to that of sponds roughly to that of sure good shielding in the spot characteristics can be
a luminous ceiling is perimeter luminaires direction of the observer. El- fully or partially integrated
achieved with indirect light mounted in continuous ements on the luminaire for into a ceiling (or wall) as
bounced off the ceiling and rows. The light is largely mounting accessories – recessed ceiling spots. Sur-
upper wall surfaces into the shadow-free. Linear lamps such as filters or anti-glare face-mounted ceiling spots
room. This diffuse, uniform – generally tubular fluores- flaps – are useful. and downlights as well as
light is predominantly used cent lamps – are the most spots for power track have
in rooms where no daylight widely used light source. Favoured light sources for visible housings. Elements
enters. It is produced by wallwashers include linear on the luminaire for mount-
suspended luminaires radi- Excessive luminance at the lamps: fluorescent lamps, ing accessories – such as
ating light upwards. ceiling and on the upper compact fluorescent lamps filters or anti-glare flaps –
part of walls causes glare in elongated designs, linear are useful.
In exhibition rooms, for ex- and interferes with spatial high-voltage halogen
ample, luminaires for sus- experience. This can occur lamps. The diffuse/direc- Punctual light sources in-
pended power track sys- in coves where no steps tional lighting delivered by clude high-voltage halogen
tems are an option: they are taken to provide optical the continuous row lamps and low-voltage
are inserted in the track control – for example be- arrangements that are pos- halogen lamps with and
from above while spots for cause the existing cove of- sible with these light without reflector, incandes-
directional lighting are ac- fers no space for prisms or sources produces relatively cent lamps with or without
commodated in the lower reflectors. Where simple deep shadows, especially chrome cap as well as met-
channel. non-overlapping battens along the horizontal edges al halide lamps.
are installed, disturbing of picture frames.
Cove luminaires light-dark transitions are
The diffuse light of lumi- also visible around the lam- The directional light deliv- Photo 6: Wallwashers distribute
naires installed in the curv- pholders. ered by individual lumi- their light asymmetrically.
ing transition between wall naires with non-linear
and ceiling – the cove or Wallwashers lamps, on the other hand, Photo 7: The directional light of
coving – is another indirect Wallwashers are used as in- gives rise to additional spot lamps raises the
lighting solution. The cove dividual luminaires or in shadows along the horizon- brightness for exhibits – here
luminaires most frequently continuous rows. Installed tal edges of a picture with an appropriate beam angle
used in modern museum flush with the ceiling (or with frame. for paintings.
6 7
5
Exhibits in the limelight
Viewing without
interference
To ensure that all exhibits are
shown to their best advan-
tage, neither the room nor
the exhibit lighting should in-
terfere with the visual task:
There should be no
evocative shadows or pat-
terns of light on walls or ceil-
ing. Such visual interference
definitely needs to be ruled 8
out for exhibition walls. in directional light. What Basically speaking, the im- Photo 8: Higher power lamps or
Reflections and undesir- happens when changes are pact of any change on multiple spots are used for illu-
able shadows on pictures made in direction of light these relatively small ex- minating large-scale objects.
and objects should be and beam angle? What do hibits is the same for large-
avoided. With direct lighting, objects look like with and scale pictures and objects.
the way to guard against without bright surroundings? The only difference is that Text panels
this is to position luminaires What difference can lumi- they need more light: high- Printed information about
so that the distance from naire accessories make? er power lamps or greater an exhibit is useful only if it
the exhibit is around a third Answers are found in the numbers of spots need to is legible – which is always
of the height of the wall. photographs on page 7, be used for illuminating the case with adequately
No cast shadows should where a portrait and a non- large objects. A very large large black type on a white
fall on neighbouring ex- figurative painting are pre- object, such as a car or a background. Where differ-
hibits. sented as examples of two- plane, can also be illumi- ent lettering is required, it
A greater distance be- dimensional pictures and a nated from several points. should be tested for legibili-
tween wallwashers and wall fragment of an ancient This makes for striking vi- ty in advance. And always
makes for better uniformity sculpture and a red vase for sual impact from various remember: legibility is im-
but presents a risk of direct three-dimensional objects. viewing angles. paired by reflections.
glare. The compromise be-
tween uniform illumination 30°
30° optical axis x
and visual comfort: the an- x
gle between luminaire and 4.00
60° floodlight angle (y = 2.35)
wall down to the lower limit
of the presentation area C
30° spotlight opening angle 3,30
should be between 25 and (y = 1.65)
y
30 degrees (see Fig. 6 + 7) B y
100° critical obser- 2,70
Edges of picture vation zone for
(y = 1.05)
Reflectance in the room Line of vertical illumi-
The colour, pattern and re- 30°
view- nation
ing
flectance of ceiling, walls 70° Line of viewing x = y · tan 30°
and floor affect the visual Room x = Distance
height spot/wall
observation distance
observation distance
4.0 m 1.35 m
How bright or dark walls
Smallest
Greatest
6
9 10 11 12
Spot with 15° beam angle and Spot with 15° beam angle and Contour spot with no ambient Diffuse ambient luminescence
ambient luminescence diffuse ambient luminescence luminescence
13 14 15 16
Spot with 15° beam angle and Spot with 45° beam angle and Wallwasher with symmetrical Wallwasher with asymmetrical
soft focus lens oval lens light distribution fitted with R7s light distribution fitted with R7s
halogen lamps (230 V) halogen lamps (230 V)
17 18 19 20
Spot with 15° beam angle, Spot with 15° beam angle, light- Spot with 15° beam angle, light- Side lighting from right
lighting from front, top, middle ing from front, top, left ing from front, bottom, left
21 22 23 24
Lighting from front Lighting from back Lighting from right Lighting from above
7
Showcase lighting
25 26
Showcases are miniature occurs when they are illu- appropriate for coloured or Photo 25: Under the top-down
exhibition rooms and the minated by punctual light transparent materials such showcase lighting, the suits of
exhibits they contain need sources. Under diffuse as glass windows. armour gleam in fascinating
to be illuminated accord- lighting, the receptacles detail
ingly – with diffuse or direc- appear matt and lifeless. Integrated lighting
tional light. In some cases, Small, shallow display cabi- Photo 26: LEDs for light protec-
illuminating and accentuat- For transparent or translu- nets (glass-topped desks) tion – luminous diodes emit
ing light may also be mixed cent objects such as glass and high or box-shaped neither ultraviolet light nor heat.
in glass display cabinets. exhibits, the key to height- showcases mostly have an
ening visual impact lies integrated lighting system.
The right light for the task more in modelling than in This has advantages: level of the showcase light-
The type of lighting re- gleam. The structure of Fewer or no reflections ing or even lower. Orienta-
quired depends essentially surfaces – cut, etched or occur on the cabinet glass. tion lighting which relies
on the characteristics of the painted – also plays an im- It is easier to avoid direct entirely on stray light from
exhibits – on three-dimen- portant role here. Depend- glare for the observer due showcases and not on a
sional form, structure, sur- ing on the exhibit, the to bright unshielded light dedicated orientation light-
face gloss and transparen- correct solution may be dif- sources. ing system should not be
cy or colour. fuse or directional lighting It is easier to engineer too low.
(through-lighting) or a special lighting effects for a
Most metal objects – gold combination of the two. dramatic presentation.
or silver receptacles, for With directional lighting, Light protection
example – acquire a fasci- visual impact is determined In small display cabinets, Light protection (see page
nating beauty when they by the angle of light inci- exhibits are normally illumi- 30) is also an important
gleam. And that gleam dence. Diffuse lighting is nated from the side. In high consideration for showcase
showcases, lighting from lighting – not least because
the cabinet roof is an op- lamps in showcases are
Fig. 8 + 9 tion. Alternatively, objects often closer to exhibits than
Directional can be bathed in light from in exhibition rooms. It must
lighting (left) below from the base of the also be borne in mind that
accentuates cabinet. the enclosed space of a
exhibits, showcase has its own
planar lighting In addition to the lighting microclimate.
(right) makes integrated in the showcase,
for uniform separate ambient lighting is For the lighting, there are
illumination. generally essential. De- alternatives to the lamps
pending on the atmosphere used in the past: LEDs, for
required and the illumi- example, which deliver a
nance permitted for conser- beam that contains no IV or
vation, the room lighting IR radiation, and fibre-optic
should be just below the lighting systems, which
8
27 28
have a very low UV/IR protection against reflected bright internal lighting thus Photo 27: The manuscripts in
content. Incidentally, be- glare is provided by non- present a lower risk. the showcase walls are
cause of their size, both of reflecting glass. uniformly illuminated from top
these solutions are also Reflections can also be to bottom.
suitable for illuminating very Reflections on horizontal caused by windows
small display cabinets. glass surfaces occur less (daylight). Appropriate Photo 28: Reflection-free
frequently if the glass is tilt- positioning of showcases external lighting illuminates and
For fluorescent lamps, ed towards the observer. or daylight screening – highlights the books in the
compact fluorescent lamps How visible they are de- e.g. with vertical blinds – cabinets.
and high-voltage and low- pends on the degree of prevents this kind of re-
voltage halogen lamps, the contrast with the surround- flected glare. Photo 29: Where luminaires
same safeguards are re- ings, i.e. the darkness of are arranged to suit showcases,
quired in showcases as in the showcase. Light- ceiling lighting is largely
large exhibition rooms. coloured showcases with reflection-free.
External lighting
Room and object lighting
outside showcases is gen-
erally provided by ceiling
lights. This type of lighting
is particularly suitable for
all-glass cabinets and
shallow glass-topped desk
showcases for viewing from
above. Daylight and object-
oriented room lighting
generally need to be sup-
plemented by accentuating
exhibit lighting. Where
luminaires are arranged to
suit showcases, there is
little risk of reflected glare.
Limiting reflections
Limiting reflected glare is
an important consideration
whatever kind of lighting is
installed for showcases
with horizontal and vertical
glass surfaces. Effective
29
9
Revolving exhibitions
Exhibits which are not on swivellable, rotatable spots necessary by experimenting Mobile spots
permanent display or which can be snap-mounted at and repositioning exhibits. Where mobile partitions are
go on tour are presented in any point. Part of the power This invariable calls for the used for presentations,
rooms for revolving exhibi- track installed should be use of ladders and steps. mobile spots fastened to
tions. Each new show is an mounted along the walls to For inaccessible locations, the partitions by clamps or
added attraction and draws permit gallery-style wall remote control spots are screw mountings are an
new visitors to see the per- lighting. In the rest of the the right answer. alternative to spotlights on
manent exhibition. room, rectangular or square power track. So that power
arrangements of power Taking account of cables to spots do not
To cater for a regular track make for greater flexi- daylight present a tripping hazard,
change-over of exhibits, bility than an arrangement Where revolving exhibitions rooms for revolving exhibi-
lighting systems need to be in just one direction. are staged in daylit rooms, tions should be provided
adaptable. So very flexible daylight incidence and the with power points in the
lighting is required. It An alternative to power position of showcases in floor.
should be noted, however, track are stationary gimbal- relation to windows (see
that absolute flexibility – mounted spots. These can page 9) must also be taken
enabling the lighting to be also be set at any angle into account. To maximize
as finely tuned for every and servomotors can be the scope for catering to
temporary presentation as used for re-angling and exhibition requirements, it
for a permanent exhibition focusing. Gimbal spotlights is best to ensure that daylit
– is an unattainable goal. are not quite as flexible as rooms can be fully dark-
spots on power track but ened. More information
Flexible lighting they permit a ceiling that about daylight is found on
The general – diffuse – makes a much more pages 22/23. Facilities for
lighting takes little account tranquil design statement darkening rooms can also
of the positioning of ex- than one with power track. be useful for light protec-
hibits. The flexibility of the tion; for information about
system depends on the Realigning luminaires the light protection require-
directional lighting. Particu- The luminaires of a flexible ments of exhibits – which
larly suitable solutions here lighting system need to be naturally also need to be Photo 30: The light of the
are furnished by power realigned for each new met in revolving exhibitions gimbal-mounted spots is focus-
track systems, in which revolving exhibition – if – see pages 30–33. able.
30
10
31
Photo 32: Power track integrated Photo 31: Power track is
in the ceiling makes it possible integrated in the ceiling grid
for spots to be positioned in construction to accommodate
flexible arrangements. the spotlights for the exhibit
lighting.
Photo 33: High illuminance
where required – each Photo 34: The spotlights need
luminaire features four gimbal- to be repositioned for every
mounted spots. new revolving exhibition.
32
33 34
11
Foyers, corridors, staircases
The entrance area is the Harmonious lighting on ceiling and walls makes either be the same or re-
calling card of the estab- To meet these require- the visual impact less duced very gradually in
lishment. It shapes visitors’ ments, the lighting needs severe. Direct or direct/in- stages. DIN EN 12464-1
first impressions, its design to incorporate a mixture of direct luminaires with stipulates a minimum of
can overcome fear of direct and indirect light – efficient fluorescent or 100 lux illuminance for
crossing the threshold. A delivered by a combination compact fluorescent lamps circulating areas such as
harmonious lighting atmos- of lighting systems de- are the most widely used corridors.
phere sets the scene for a signed to cater for every light sources for the gener-
friendly reception. Foyers lighting task: the uniform al lighting; wall luminaires A route guidance system
also serve a functional pur- general lighting provides for indirect lighting form provides an effective addi-
pose: they lead into the in- security and facilitates ori- part of the accent lighting. tional orientation aid for
terior of the building. entation, accentuating light visitors. To ensure reliable
In the entrance zone, peo- guidance, it should include
ple step out of bright day- bright information panels or
light into a darker building back-lit signs with a clear
or out of night-time dark- message.
ness into a brightly lit interi-
or. To enable their eyes to Safe light
adjust to the change in The risk of tripping on
brightness level, adaptation steps and stairs is reduced
zones are recommended. by good lighting. The illu-
During the day, the immedi- minance should be at least
ate entrance area needs to 150 lux (DIN EN 12464-1).
be particularly brightly lit; As it is generally more
at night, the illuminance dangerous to fall down
inside the building should stairs than to trip on the
decrease towards the exit. way up, it is particularly
important that the lighting
The calling card role of a should ensure that treads
foyer makes it an interest- are clearly discernible from
ing place for special archi- above. In addition, light
tectural features – features falling from the upper land-
which lighting and lighting ing makes for short soft-
characteristics should edged shadows. The
underline. For high ceilings, treads can thus be clearly
for example, high-intensity distinguished; each one is
spots with high-pressure readily identifiable.
discharge lamps are re-
commended. As pendant Floor-level orientation
luminaires with direct/indi- lighting provides added
rect light distribution, they security. Wall lights at the
emphasize the height of side of the stairs casting
the room. Moulded plaster direct light onto treads are
ceilings, columns or a solution here. LED tech-
galleries can be very effec- nology offers a new alter-
tively stressed by accentu- native, e.g. with luminous
ating light. diodes set into risers. LEDs
are also used for illuminat-
Guiding light ing banisters.
Corridors, staircases and
lifts connect the entrance
area with the deeper
recesses of the building.
If they are significantly
darker than the foyer, they
can be off-putting. To avoid
this tunnel effect, the illumi-
nance realised should
12
Photos 36 and 37: The entrance
area shapes first impressions.
Harmonious lighting makes for
a friendly reception.
37 39
38
Photo 38: Light in banisters –
LEDs make it possible.
40
13
Audiovisual media
41
An exhibition may include be easy to identify. The illu- Photo 41: Audiovisual media
video installations or pre- minance of the additional can form part of an exhibition.
sentations on large screens lighting provided for the Catering for them calls for
or monitors of various purpose and its radiance in lighting incorporating no highly
sizes. It may also include the direction of the screen directional light, delivering
audio exhibits, i.e. record- (reflected glare) and the illuminance tailored to
ings of voices, sounds or operator (direct glare) must presentations and providing
music. nevertheless be limited so adequate light for the use of
that they do not interfere controls.
Reflected glare is with visitors’ perception of
annoying the presentation. 42
The lighting needs to cater Photo 43: Feeling, hearing, Photo 42: In a separate
for the use of audiovisual Computer room seeing – all the senses are computer room, the rules of
media. Because reflected Where computers and involved in experiencing the office lighting apply.
glare on screens is very monitor screens are not in- exhibition.
annoying, highly directional tegrated in the exhibition
lighting should not be in- but installed in a separate
stalled in the vicinity of computer workstation room,
monitors. High luminance it is advisable to light that
from neighbouring exhibi- room as if it were an office
tion areas has the same (see page 19). If the time
dazzling effect; stray light visitors spend in the room
from such sources should is kept short – for example
also be limited. by putting a limit on the
maximum length of stay –
For audiovisual presenta- the lighting concept of the
tions, lighting should nor- exhibition can also be
mally not be too bright – adopted here even if it
neither for visual perception means a lower lighting
nor for the perception of level. Having said that, the
sounds on which visitors risk of direct and reflected
need to concentrate. Where glare must always be ruled
presentations are interac- out.
tive, however, it is important
that controls such as but-
tons and their labels should
43
14
Lecture room
15
Library
Fast orientation
The general lighting – with
additional route marking
and identification of exits –
needs to permit fast orien-
tation and provide guid- 46
ance around the rows of Reading desks require Photo 46: Helping visitors get
shelves. Direct/indirect brighter lighting. Where their bearings, facilitating
lighting produces an desk luminaires are used to reading, creating a peaceful to
agreeably bright ceiling supplement the general subtly stimulating atmosphere –
and prevents the so-called lighting, visitors can raise these are the tasks addressed
“cave effect” that can easily the lighting level to suit by library lighting.
occur in parts of a library. their personal requirements.
Where direct lighting com-
ponents are kept small,
annoying reflections
(reflected glare) on glossy
paper are also reduced.
Vertical lighting
components
Bookshelves and bookcas-
es should be well illuminat-
ed over their entire area.
Vertical components need
to reach to the lowest shelf
to enable titles on book
spines to be read with
ease from a reasonable
distance. Wallwashers with
asymmetrical beams are
particularly suitable for this
lighting task. Lamps with a
good colour rendering
index (Ra ⱖ 80) ensure
that books can be easily 47
identified by the colour and Photos 47 and 48: Wallwashers with asymmetrical
design of the spine, which beams illuminate shelves – from the ceiling (47)
are often used as search or as integrated shelf luminaires (48).
criteria.
48
16
Study room
17
Cafeteria, museum shop
18
Workplace lighting
Workplace lighting is need- the illuminance in museum Photo 55: In offices, light must
ed for rooms which are workshops, including cause neither direct glare nor
not open to the public and training workshops, should reflected glare on screens.
where the lighting caters be 500 lux. The finer and
solely for the visual tasks more critical the visual
performed by the people task, the more light is
who work there. These needed. For this, supple- Photo 56: The finer and more
rooms are essentially mentary workplace lumi- critical the visual task, the more
offices, e.g. administration naires can be used to raise light is required.
areas, workshops and the illuminance at the
storage facilities such as workpiece. A suitable solu- Photos 57 and 58: Storage
warehouses, depots and tion for the general lighting facilities require a minimum of
archives. is task lighting with lumi- 100 lux to be standard-
naires for fluorescent compliant; higher illuminance
Office lighting lamps arranged parallel levels are better.
The first requirement for vi- to windows, preferably with 55
sual performance and visual light falling on the work-
comfort is an adequate level bench from the side.
of lighting. For compliance
with DIN EN 12464-1, illumi- Generally speaking, it is
nance in the task area must advisable in workshops to
be no lower than 300 lux. install luminaires with a
The standard makes a higher degree of protec-
distinction between room- tion. A luminaire protected
related, task area and work to IP 43, for example, is
surface lighting (more infor- protected against the
mation in FGL booklet 4, ingress of solid particles
see page 45). ⬎ 1 mm and against
spraywater, while an IP 54
The most popular office luminaire is dustproof and
lighting solution is based protected against splash-
on pendant luminaires or water.
standard-alone luminaires
for direct/indirect lighting, Storage room lighting
which most people find The kind of work done in
agreeable. The alternative store rooms, depots or
– direct general lighting archives requires less light
with recessed or surface- than craft activities. Never-
mounted ceiling luminaires theless, relatively high
or pendant luminaires with illuminance is important for
specular louvers – is ap- handling small items in
preciated especially for its storage and for all work
uniformity. involving reading tasks
(labelling items for storage,
One of the most important completing forms). If the 56
quality criteria, particularly reading and searching task
for VDU workplaces in an is focused on shelves – i.e.
office, is direct and reflect- a vertical plane – as much
ed glare limitation by as 300 lux vertical illumi-
appropriate positioning of nance may be required.
luminaires, desks and
monitors. Where accent Higher illuminance than the
lighting is provided by wall 100 lux stipulated in DIN
luminaires or showcase or EN 12464-1 facilitates
picture lights, care must be reliable visual perception,
taken to ensure that dis- heightens concentration,
turbing reflected glare is helps to avoid mistakes
avoided. and guards against acci-
dents. Luminaires for fluo-
Workshop lighting rescent lamps are the most
For compliance with DIN suitable option for rooms of
EN 12464-1, what applies normal height; luminaires
to offices – see above – with high-pressure discharge
basically applies also to lamps are the solution
workshops. Regardless of recommended for interiors
the type of work performed, with higher ceilings.
57 58
19
Outdoor exhibits
Avoid glare
If the idea is to illuminate
the whole object, lights
need to be set at a greater
distance than for highlight-
ing details. When position-
ing spots and floods, it is
important to make sure
that observers will not be
dazzled, at least in the
59 principal viewing direction.
Whether sculptures or in- ance they do not have in
Open air museum stallations, some works of daylight: the artificial light- To achieve the same light-
Open air museums are art are intended to be ing creates new structures, ing impact with different
a showcase for historical exhibited outdoors while reinventing the object in a objects, the general rule is:
buildings and complex- others may become candi- game of light and shadow. the darker the object and
es, either in their original dates for outdoor display brighter the surroundings,
state or reconstructed. because of their size. For the more light is needed.
They close when it is the majority of such ob- The best way to determine Ultimately, however, even
dark, so artificial lighting jects, an inner courtyard or the perfect location for a illuminance is a matter of
is generally installed small patch of garden is mobile spotlight or flood is taste and design intention.
only inside the buildings normally enough. to conduct trials – with
– if possible without light from below, from be-
spoiling the impression Interplay of light and low and from the side,
of a time before the ad- shadow from the side, from above,
vent of electricity. Where Outdoor illumination at from above and from the Photo 60: Light from below –
an open air museum dusk or at night basically side, or even bounced off the stationary recessed ground
stays open after dark, has the same effect as illu- another surface. Every floods are installed in groups.
path lighting is also mination with directional solution has a charm of its
required. light in an exhibition room own. For lighting from Photo 61: Facade painting –
(see pages 2, 6). But it also below, recessed ground floodlighting creates a splash of
gives exhibits an appear- floods are the alternative to colour at night.
60 61
20
Night scenes
21
Daylight
Daylight museum
Public museums built in the
first half of the 19th century
had to rely on daylight.
From early times, architects
incorporated skylights to
harness it: in 1789, the side
windows of the Salon
Carée at the Louvre in Paris
were bricked up to enable
all the wall to be used for 65
exhibits. Because no windows are sometimes occur on pic- Photo 65: The camera looks
present, more wall space is tures on the wall. behind the luminous ceiling of
For a long time, despite available for paintings. an exhibition room where
the availability of artificial There is also no problem Direct sunlight must always daylight and artificial light are
lighting, every new museum with reflections on exhibi- be “locked out”. But light mixed as required.
was built as a daylit facility. tion walls due to incident protection is not alone in
But that changed in the daylight from the side. presenting high require-
1950s and ’60s when it ments: what all modern actually the right tool for
was realised how much With large skylights, unwel- skylight solutions have in making maximum use of
damage daylight can do, come interference may common is that they are daylight. On the other
especially to paint and occur and needs to be expensive to design and hand, there are many ways
other organic materials. For tackled by positioning the construct for daylight direc- today to direct daylight and
some time after that, all skylights appropriately and tion, control and filtering. “lock out” direct sunlight
new museums were built providing for precise opti- The use of skylights to har- even in rooms with lateral
with rooms without win- cal control. There is a risk, ness daylight is confined to windows. Having said that,
dows. for example, of light being the upper storeys of a these non-transparent
systems do not fulfil the
Today, our knowledge of requirement met by day-
lighting engineering cou- Daylight has considerable damage potential light museum windows in
pled with modern control Both daylight and artificial light contain rays which may making diurnal and sea-
and regulation technology cause exhibits to fade, dry out or become discoloured sonal change – as well as
makes it possible for or deformed if exposed to the light for long periods. the vicissitudes of the
daylight to be precisely di- But daylight is certainly the more dangerous. This is weather – a visual experi-
rected and dosed. So once confirmed in the art history publication “Über das Licht ence.
again daylight plays a in der Malerei” (Wolfgang Schöne, Berlin 1993), which,
major role in museum con- when considering light sources, focuses almost exclu- Windows reduce the
struction and design. sively on daylight. Few pages are devoted to artificial amount of wall space for
lighting. exhibits. Undirected and
Skylights Information on light protection is found in this booklet unfiltered incident daylight
Skylights are classic day- on pages 30 ff. can give rise to reflections
lighting elements for picture on exhibition walls.
galleries. They provide uni-
form, diffuse lighting. Be- unevenly distributed over building or calls for single- Daylight and artificial
cause the light is admitted the walls. In rooms with storey design. Skylights are light
over a large area, the shad- dark furnishings, in particu- no substitute for the visual If daylight and artificial light
ows produced are soft. lar, the vertical illuminance contact with the outside are mixed, their rays
The incident daylight that at eye level is often too world provided by windows. should be fully blended be-
passes through a skylight low. The contrast between fore they fall on an exhibit.
reaches nearly every part of wall and ceiling brightness Windows This also means that the
the room, including free- can cause glare. And even Outsized windows are not spatial distribution of the
standing display cabinets, with light incidence from necessarily a suitable alter- two types of light needs to
sculptures and partitions. above, reflections can native to skylights and not be coordinated. The rea-
22
66 67
sons: the lamps used for two types of light do not Photos 66 + 67: The luminous ceiling of the 800 m² “Salle des
artificial lighting radiate interfere with one another – Etats” of the Louvre in Paris has an area of 300 square metres. It
light of particular colours, unless the twilight is delib- directs the incident daylight that passes through a glass roof into
while the spectral composi- erately used to create a the exhibition room. Supplementary artificial lighting is activated
tion of daylight changes all particular atmosphere in when the monitoring system reports there is no longer enough
the time. In addition, the the room. daylight. 360 luminaires, each fitted with two 80 W fluorescent
two have different angles of lamps, are installed, some with wide-angle and some with narrow-
incidence and different angle reflectors. Illuminance is 250 lux on the floor of the museum,
beam angles. This gives 100 lux at the walls. Photo 67 shows the inside of the ceiling
rise to conflict; the appear- construction.
ance of exhibits is distorted
if the two light forms are
not fully blended. The only
alternative to blending is
“segregation”. This means Photo 68: The daylight entering
keeping the daylit zone through the skylights falls main-
and the zone illuminated ly on the exhibits on the upper
by artificial light far enough floor; the corridor needs
apart to ensure that the supplementary lighting.
Daylight incidence from above Daylight incidence from the side
through a luminous ceiling (prin- through a window (principle in
ciple in cross-section of room) cross-section of room)
With light from above, more falls With light from the side, the further
on horizontal surfaces in the it has to travel from the window
middle of the room than on wall, the lower the illuminance on
surfaces at the edge and always both horizontal surfaces …
(angle) more than …
23
Lighting management
24
71
69
72
Photos 69 and 70: A lighting Photos 71 and 72: The lighting in this exhibition and event hall
management system enables permits a variety of room uses. The lighting situations shown here –
the separately switched controlled by a lighting management system – are “bright
luminaires and luminaire groups daylight-white lighting” (71), which is normally used during the day ,
to be easily controlled. The 3D and “less bright warm-white lighting” (72), intended mainly for
presentation in photo 69 shows evenings.
the lighting situation “fully
activated”, photo 70 shows the
“spot lighting” situation.
25
Seeing, identifying, perceiving
Fig. 16 74
Over 80 percent of all the determined first and fore- Luminance distribution Photo 74: The diffuse light
information we receive is most by the sensitivity of Luminance (symbol: L) is provided by the luminous
picked up by our eyes. the exhibits. For endan- the brightness of a lumi- ceiling is combined here with
Anyone who studies the gered artworks, for exam- nous or illuminated surface directional spotlighting.
conditions needed for see- ple, the illuminance should as perceived by the human
ing well, i.e. anyone who be as low as possible (light eye and is measured in
knows the basic visual protection, see page 30). candelas per unit area
requirements, understands (cd/m ). Luminance distrib-
more easily how light The second criterion is de- ution in the visual field has
makes visual performance sign intention. And in third a crucial bearing on visual
possible and what can place – exceptionally – is performance because it
interfere with that perform- the question of how much defines the state of adapta-
ance. More detailed infor- light is needed to enable tion of the eye. The higher
mation about the basics of the visual task to be per- the luminance, the better
lighting is contained in formed. Applying all three the visual acuity, contrast
booklet 1 “Lighting with arti- criteria produces a consen- sensitivity and performance
ficial light” (see page 45). sus on the illuminance level of ocular functions.
required, although it needs
Illuminance to be realised that the level For visual tasks at a desk,
Illuminance (symbol: E) must not be too low. concentration is promoted
has a major bearing on the by brighter areas in the
speed, reliability and ease The average illuminance centre of the visual field.
with which we perceive normally provided in exhi- In the context of an exhibi-
and perform a visual task. bition rooms ranges from tion, this means that ex-
Measured in lux (lx), it indi- 150 to 250 lux, depending hibits should always have
cates the amount of lumi- on whether the lighting a higher luminance than
nous flux from a light caters for wall-mounted ex- their surroundings. One
source that falls on a given hibits or exhibits throughout way to achieve this is with
surface: where an area of the room, with higher verti- graduated brightness
1 square metre is uniformly cal components or more levels.
illuminated by 1 lumen horizontal ones. Sometimes
of luminous flux, the illumi- it needs to be darker for Visual comfort is impaired
nance is 1 lux. Example: conservation reasons; where luminance is too low
the flame of an ordinary brighter lighting is often or differences in luminance
candle generates approx only required to offset day- are too slight (disagreeable
1 lux at a distance of light incidence. lighting atmosphere),
1 metre. where differences in lumi-
Where lots of diffuse and nance are too marked
Illuminance is measured on not much directional light- (eyes become fatigued be-
horizontal and vertical sur- ing is used, the exhibition cause of the constant need
faces. Uniform distribution room is illuminated more to re-adapt) and where
of brightness facilitates the uniformly. Light directed points of luminance are too
visual task. exclusively onto exhibits high (glare).
results in a largely uneven
In exhibition rooms, the pattern of illuminance in
level of illuminance is often the room.
26
L E XI C O N
Adaptation
Adaptation to differ-
ences in brightness is
performed in the hu-
man eye by receptors
on the retina and
changes in the size of
the pupil. Adaptation
from dark to light takes
only seconds; full
adaptation to darkness
takes minutes.
Lamp
No lamp, no light: the
term ,lamp’ refers to an
engineered artificial
light source such as an
incandescent lamp, flu-
orescent lamp, etc..
Luminaire
The term “luminaire”
refers to the entire
electric light fitting, in-
cluding all the compo-
nents needed to mount
and operate the lamp.
Luminaires protect
lamps, distribute their
light and prevent them
causing glare.
27
Seeing, identifying, perceiving
28
L E X I C O N
Luminous intensity
Luminous intensity
(symbol: I) is the
amount of luminous
flux a reflector lamp or
luminaire radiates. It is
measured in candelas
(cd). Plotting the lumi-
nous intensity values at
the different emission
angles on a graph pro-
duces an intensity dis-
tribution curve (IDC).
Reflectance
Reflectance indicates
the percentage of lumi-
nous flux reflected by a
surface. The reflect-
ance of light-coloured
surfaces is high, that of
dark surfaces low. This
means that the darker
the room furnishings,
the more light is need-
ed to create the same
brightness.
Visual task
Visual tasks are de-
fined by light/dark and
colour contrasts as well
as by the size of de-
tails. The more difficult
the visual task, the
higher the lighting level
needs to be to permit
the visual performance
required.
Visual performance
Visual performance is
determined by the vi-
sual acuity of the eye
and its sensitivity to dif-
ferences in brightness
and darkness as well
as by speed of percep-
tion.
79
29
Light protection
Optical radiation
Even so, the hazard poten-
tial should not be underes-
timated. It exists because
some materials cannot
tolerate optical radiation,
which includes short-wave 80 81
ultraviolet (UV) radiation
(100–380 nm = nanome- Photochemical Spectral radiation distri- Effective irradiation
tres ), light in the visible reactions bution of the light source is ascertained mathemati-
range (wavelengths of Organic materials in partic- (daylight or lamps) cally from the values for
380–780 nm) and long- ular are susceptible to Light of a particular wave- optical radiation (spectral
wave infrared (IR) radiation photochemical change. length has a particular distribution), irradiation and
(780 nm to 1 millimetre). Inorganic material is much spectral colour. White light relative sensitivity of the
It triggers photochemical or less often affected. In is made up of a large num- object.
thermodynamic (physical) museums, the greatest fear ber of spectral colours of
processes. Daylight, with is of changes in colour, different intensity. This The following character-
its high UV content and the i.e. fading, yellowing or spectral radiation distribu- istics and conditions also
thermal radiation of the darkening of paper, fabrics, tion is characteristic of each play a role in photochemi-
sun, is always critical. wood or the colour pig- lamp type as well as day- cal processes:
ments, binders or varnish- light. Incandescent lamps, spectral absorption char-
Lighting technologists and es used in watercolour and for example, produce a acteristics of the material
other scientists have stud- oil painting. light dominated by the reds and its specific disposition
ied these phenomena. As of the long-wave spectral for secondary reactions,
well as empirical evidence Photochemical change is a region; daylight, on the oth- ambient and object
and tips on light protection slow process. But light er hand, is dominated by temperature,
for conservation, that re- damage is cumulative and the short-wave blues. moisture content of the
search has furnished a set irreversible: no material Relative spectral object and its surroundings,
of formulas that make the ever forgets radiation or the sensitivity pollutants or dust
harmful effects calculable length and intensity of ex- indicates the dependence deposited on the object,
but no more comprehensi- posure to it. of an object’s light sensitivi- characteristics of the
ble for the non-engineer. ty on the wavelengths of colouring agents and pig-
So formulas, mathematical The most important para- the reference radiation. ments used.
relationships and computa- meters contributing to pho- Effective threshold
tions will not be looked at tochemical processes are: irradiation Damage potential
here. is the measure of the ab- The damaging irradiance
Irradiance solute sensitivity of an ob- and the illuminance at the
The important thing to of the object. Irradiance is ject. Change starts to occur exhibit stand in a fixed
know is that the damage is indicated by the symbol Ee in light-sensitive materials ratio to one another. That
done not by the radiation and is measured in W/m on first exposure to radia- ratio indicates the damage
that strikes the object but Irradiation time tion - at first invisibly, then potential. It is the crucial
by the rays it absorbs. UV is the length of time an ob- with visible signs. The quantity used to describe
radiation and short-wave ject is exposed to irradia- threshold at which visible the damage that can be
light are generally more tion. Irradiation (He) is the damage starts to be done done in a lighting situation
harmful than long-wave product of irradiance and is the yardstick used for as- where particular light
light and IR radiation. the length of exposure to it. sessing light sensitivity. sources and filters are
Which means radiation in The higher the irradiance trained on particular ex-
the visible spectrum – i.e. and longer the exposure, The threshold irradiation hibits and materials.
light – can do damage. the greater the potential time (i.e. the time till the
risk. threshold is reached) is
shown for individual materi-
als under daylight or the
light of different lamps.
30
Photos 80 and 81: The two
samples were taken from the Light protection in 1905
same bolt of fabric. The piece in To protect exhibits from the impact of light, a zoo-
photo 80 was stored out of the logical museum took the “radical step of opening
light and thus screened from its exhibition rooms on two days a week for 2
ultraviolet rays. The piece in hours. During that time the interiors are flooded with
photo 81 was exposed during light; at all other times, however, curtains admitting
the day to sunlight and thus no light whatsoever are drawn across the windows,
also UV radiation. producing the total blackness found in a photo
grapher’s dark room.”
31
Light protection
at the same time. These are that emit light with a low
accelerated by the heat IR content. Where low-
and interact with thermody- voltage halogen lamps are Relative spectral sensitivity
namic processes. Physical used, cool-beam reflector
change is also accelerated lamps are the right choice. Group Material samples in %
by fluctuations in tempera- No IR radiation is con- sensitive oil paints on canvas 100
ture and humidity – e.g. tained in the beams of
due to the activation and fibre-optic lighting systems textile samples 300
very
deactivation of lamps. or LEDs. sensitive watercolour paints on
Using IR filters to cut off hand-made paper 485
Unlike the molecular harmful radiation
change that takes place in Limiting exposure
The relative spectral sensitivity of the materials shown here
photochemical processes, Dissipating the heat.
is based on the impact on oil paintings (reference value:
which can come to a halt, Even with lamps that pro-
100 percent). So watercolours, at 485 percent, are nearly five
the thermal load on an duce a luminous flux with a
times more at risk than an oil painting. The illuminance on
object during irradiation is low heat content, lumi-
the object is 200 lux – a compromise between the brightness
always harmful. naires and their immediate
needed for the visual task and the conditions required for
surroundings can heat up.
conservation; the illuminance on very sensitive objects should
The thermodynamic impact This is possible in a dis-
not exceed 50 lux.
of radiation is determined play cabinet, for example.
by the thermal load on the To ensure this secondary
object and the spectral IR radiation does no
irradiance, the radiation damage, it needs to be
absorbed playing a partic- dissipated. If necessary, Relative damage potential of light sources
ularly key role. For the fans can be installed to
thermal load on an exhibi- increase air circulation. edge filter
The IR radiation of day- Light source without window glass
tion room, the key deter- filter edge at (nm)
minant is the product of the light is just as damaging as 380 400 420 simple double
luminous efficacy of the that of lamps. So direct
lamps and the coefficient sunlight always needs to be in %
of utilisation of the lighting “locked out”. Daylight 235 155 130 110 205 190
installation.
General serv- 85 75 70 65 80 75
Protective measures ice tungsten
against thermodynamic filament lamp
processes LV halogen 100 80 75 70 90 90
The protective measures lamp
taken against heat loading
correspond to those High 220 175 145 110 210 210
against photochemical pressure
metal halide
processes. The most effec-
lamp
tive are:
Fluorescent 100 85 80 70 95 90
Choosing appropriate lamp,
light sources: for heat- neutral white
sensitive materials, the only Fluorescent 90 75 70 60 85 85
suitable lamps are ones lamp,
warm white
LED, 80 80 80 75 80 80
Light pass cold white
The only way to build
up an accurate picture The relative damage potential of daylight and the lamps listed
of the exposure history here is based on the impact of unfiltered light from low-voltage
of an object is to halogen lamps (reference value: 100 percent). An object
record exposures in a exposed to the light of a metal halide lamp with a 380 nm edge
light pass. Data that filter for 1,000 hours at 200 lux illuminance, for example,
needs to be noted sustains nearly twice as much damage (180 %) as a similar
includes details of pe- object exposed to an unfiltered low-voltage halogen lamp.
riods on display as
well as the type of light Conversely, this means: for the same degree of damage, the
source used, the object can be illuminated by the unfiltered light of a low-voltage
illuminance and the halogen lamp for nearly twice as long or nearly twice as
irradiation time. intensely as by the filtered light of a metal halide lamp.
32
Maintenance
33
Lamps
1, 2
3, 4, 5 6 6
6
14
14
16
16
13
15
11 12 13 17
m,
cy 4) m,
ww = warm white
x 4) m
ica m
re
colour temperature
flu 16
eff 16
ua
mm
below 3,300 K
us Ø
p 4)
us , Ø
lam
sq
ted
mm
mm
ino p,
ign
ino mp
26
nd
am
nw = neutral white
ga
m
be
es
26
n pa
16
lum d la
lum la
Ø
n lon
el
-tu
colour temperature
ed
d
h nd
d
tub
Ø
sig am
sig e
r3
d
n
an
ap
3,300 to 5,300 K
hig -ba
ate
hig ba
e”
de uxe”
e”
4-
de e l
-o
-b
sh
ux
ux
-
ng
ee
dw = daylight white
ee
ee
tub
or
g-
,2
h
el
el
el
elo
thr
thr
thr
rin
1-
3-
4-
colour temperature
“d
“d
“d
over 5,300 K 1 2 3 4 5 6 7 8 9 10 11 12
Lamp type Induction
Features Tubular fluorescent lamps Compact fluorescent lamps lamps
Power rating from 18 18 14 24 24 5 16 18 18 60 70 556)
classes (Watt) to 58 58 35 80 54 70 38 805) 55 120 150 1656)
Luminous flux (Lumen) from 1.350 870 1.100 1.650 1.300 250 1.050 1.200 750 4.000 6.500 3.650
luminous intensity (Candela) to 5.200 4.600 3.300 6.150 3.550 5.200 2.800 6.000 3.650 9.000 12.000 12.000
Luminous efficacy from 751) 612) 79 (933)) 69 (843)) 58 (673)) 50 61 67 42 67 756) 666)
(Lumen/Watt) to 891) 792) 93 (1043)) 88 (993)) 76 (793)) 82 78 87 66 75 796) 736)
Light colour ww,nw, dw ww,nw, dw ww,nw, dw ww,nw, dw ww,nw, dw ww,nw, dw ww,nw, dw ww,nw, dw ww,nw, dw ww, nw ww, nw ww, nw
Colour rendering index Ra
(in some cases as range) 85 ⬎ 90 85 85 ⬎ 90 80–85 80–85 80–85 90 80–85 80–85 80–85
G23, G24 2G10
Base G13 G13 G5 G5 G5 2G7 GR8 2G11 2G11 2G8-1 special special
GX24 GR10q
34
The table below shows the most important lamp
types and their technical specifications, which are
expressed in ranges. More precise values for
individual lamps and other specifications, such
as lamp life, can be found in manufacturers’
catalogues.
co 111
olo ds
ds
tor
am
ati m
)
hn nd
ou
hn en
ram e a logy
en
gy
ea
co bea
lec
cte ly
ut r, Ø
ng
be
tec e
ith
l-b
tec th
th
ref
or hig
ic one
d
o
tor
ol-
. I R ol-
/w
tho cto
ic t bo
bo
o
ed
IR
lec
tor co
tor co
tor co
ith
ng ith
t
r-c se,
ke
wi fle
ap
e
ram at
at
,w
ati w
r
ref
lec or
lec or
lec or
jac
th/ re
t
lou ba
ke
sh
( ce base
se
co se
se
( ce bas
ref alu
ref lu
ref alu
wi lu
alu
jac
lb-
ba
co in
ut
ba
a
g-
b
tho
bu
th
th
th
th
th
th
th
th
th
plu
pin
pin
wi
wi
wi
wi
wi
wi
wi
wi
wi
wi
80 73 39 10 _ _ 10 14 12 _ _ _ _ Power consumption
decreases from 18 W to
100 100 52 19 15 22 27 16 W, from 36 W to 32 W
ww, nw ww, nw ww ww ww ww ww ww ww ww ww ww ww and from 58 W to 50 W.
3) High value realisable
80–85 75–95 80–85 100 100 100 100 100 100 100 100 100 100 only at 35° C ambient
temperature
4) EB operation only
G12, G22 G4
Fc2 E14 E14 GU10 G4 G4 5) 40 W, 55 W and 80 W
GU6,5/G8,5 PG12-1 G9 R7s GY6,35 GU5,3 G53
RX7s E27 E27 GZ10 GY6,35 GU5,3 only with EB
PGJ5 G8,5 6) System (lamp + EB)
35
Lamps
1, 2
3, 4, 5 6 6
6
7 10
7
10
14
8, 9
14
21 21 21 22
21
18 18
16 16
23
13 19 19
20
15 23, 24
11 12 13 17 25
84
Tubular three-band fluo- Tubular fluorescent lamps wear, such as incandes- Photo 84: These are the most
rescent lamps with 26 mm require an elongated lumi- cent filaments or elec- important types of lamp for
(1) or 16 mm (3, 4) diame- naire, compact fluores- trodes, induction lamps museum, gallery and exhibition
ter have a very long ser- cent lamps are also suit- (11, 12) have an extremely lighting. Their technical specifi-
vice life and generally high able for smaller rectangular long service life (up to cations are summarised in the
luminous efficacy. Operat- or round luminaires. The 60,000 operating hours) table on pages 34/35.
ed by electronic ballasts smaller designs (6) include and thus require less fre-
(EBs), they are even more 4-tube lamps and square quent replacement. They
energy-efficient; 16 mm ⭋ models (7), elongated are therefore a particularly
lamps are designed for EB lamps (8, 9) and the newly attractive option for high- neutral white light colours.
operation only. Hot-start developed lamps with high ceilinged rooms and Nearly all metal halide
EBs increase the life of luminous flux (10). ceilings which are not easi- lamps have UV absorbing
these lamps. ly accessible, such as bulbs.
Compact fluorescent lamps those above escalators.
Three-band fluorescent have the same positive Light is generated in these High-pressure sodium
lamps are available in all characteristics as tubular high-output fluorescent vapour lamps (15) emit a
light colours. Colour ren- three-band fluorescent lamps by electromagnetic particularly warm white
dering is good (Ra index lamps: (very) long life, high induction and gas dis- light with no UV content
85): lamps with the suffix luminous efficacy, colour charge. and have a very high lumi-
“de luxe” (2, 5) have very rendering properties that nous efficacy rating. The
good colour rendering range from good to very Metal halide lamps (13, only HP sodium lamps
properties (Ra index ⬎ 90), good (“de luxe” models) 14) are powerful, cost- suitable for interior lighting
special daylight white mod- and a full choice of light efficient light sources com- are “highly colour-correct-
els achieve an Ra index of colours. Lamps for energy- bining a very compact de- ed” models with a colour
98. However, the luminous efficient EB operation have sign for optimal optical rendering index of Ra
efficacy of “de luxe” lamps a 4-pin base; nearly all control with high luminous 80–85, which have a lower
is somewhat lower. With can be operated by dim- efficacy, very good colour luminous efficacy than
appropriate EBs, fluo- mable EBs. rendering and a long ser- other HP sodium lamps.
rescent lamps can be vice life. Models with bases
dimmed. Because they have no at one or both ends are
components subject to available in warm white or
36
Photo 85: In light-emitting
diodes (LEDs), the production
of light takes place in a
semiconductor crystal which is
electrically excited to emit
light (electroluminescence). A
housing protects the semi-
conductor from environmental
conditions.
There are single LEDs and –
as shown here – LED modules.
The basic element of a module
is a conductor plate, which
carries the semiconductor crys-
tals or single LEDs and all the
other components, including
those for controlling the LEDs.
85
Halogen lamps (16–25) Volt systems – which re- Light-emitting diodes LEDs started out as status
are characterised by an quire conventional or elec- (LEDs), shown in photo and signal indicators in
agreeably fresh, warm tronic transformers. 230 85, have not been used for electrical equipment and
white light with exceptional Volt lamps are fully dimma- lighting for long. Very small automobiles. Then, with the
brilliance. They have lumi- ble; dimming low-voltage light sources, they gener- development of new
nous efficacy ratings which lamps calls for special ate light very efficiently. coloured LEDs, they quick-
are substantially higher dimmer/transformer combi- They also have an ex- ly found applications in
than those of general ser- nations. tremely long life (up to special effect and display
vice tungsten filament 50,000 operating hours). In lighting and also became
lamps and a longer service A special infrared bulb LEDs (light-emitting an established solution for
life. Their luminous flux coating can reduce the diodes), the production of orientation lighting. Now,
also remains constant energy consumption of a light takes place in a semi- used in desk and standard
throughout – a fact due to halogen lamp by as much conductor crystal which is luminaires, white LEDs
the halogen cycle. In this, as 45 percent. Used in 230 electrically excited to emit are addressing their first
tungsten atoms evaporate Volt lamps (20) with a light (electroluminescence). “viewing light” applications.
from the filament and com- base at both ends und in A housing protects the
bine with halogen atoms; low-voltage lamps (21, 24, semiconductor from envi- The brightness of LED light
the gaseous compound 25), the coating reflects ronmental conditions. LEDs can be adjusted: varying
then returns to the hot fila- much of the radiant heat are available as individual the operating current
ment, re-depositing tung- dissipated by the incandes- diodes and as LED mod- causes the radiant lumi-
sten atoms and releasing cent filament back onto ules. nous flux to fluctuate in
halogens, after which the the filament. direct proportion to the
cycle starts again. There is In contrast to conventional changes. This basically
thus no “lamp blackening” 230 Volt and low-voltage light fittings, LEDs emit amounts to dimming and is
due to tungsten deposits lamps are available in monochromatic radiation. used primarily for lighting
on the bulb, so the lumi- designs with cool-beam White light is produced by effects.
nous flux is not reduced. reflector. These have a luminescence conversion,
faceted reflector (cool- which involves directing the Further information is con-
Halogen lamps with bases beam specular reflector) light of a monochrome tained in FGL booklet 17
at one or both ends are which reduces the radiant blue LED through a con- “LED – Light from the Light
available in a wide range heat of the beam by two verter such as phosphor. Emitting Diode” (see page
of shapes and power rat- thirds; the retained radiant 45).
ings. A basic distinction is heat is conducted back- The light produced by
made between halogen wards by the reflector. LEDs contains no ultravio-
lamps for 230 Volt line let (UV) or infrared (IR)
voltage (16–20) – also radiation. So LEDs can be
known as high-voltage a good choice where light-
halogen lamps – and low- ing is needed for light- and
voltage halogen lamps heat-sensitive exhibits.
(21–25) – mostly designed
for 12 Volt operation but
also available for 6 or 24
37
Luminaires
Selection criteria
Lighting quality, cost-efficiency, dependability, ease of Figs. 21 + 22
installation and user-friendliness are important aspects Recessed wallwashers with asymmetrical beam spread, the one
of luminaire design. And with luminaires which are on the right with a specular “kick reflector” for also directing light
made to high technical standards, functional features are onto the edge of the ceiling.
matched by aesthetic ones, such as shape of housing,
finish and colour.
Figs. 17 + 18 Figs. 25 + 26
Spots for power track (left) and swivel-mounted recessed downlight Cove luminaire with a housing that forms the coving (left), and light
with spotlighting characteristics (right); power track is also suitable from a coving formed by architectural elements (right).
for recessed ceiling mounting.
Figs. 19 + 20 Figs. 27 + 28
Downlights with symmetrical beam spread (left) and asymmetrical Lighting channels with clear (left) and opal (right) enclosure
beam spread (right)
38
Figs. 29 + 30 Figs. 37 + 38
Indirect luminaire with fluorescent lamps for power track, operated Light for working: pendant luminaire for tubular fluorescent lamp
by a power track phase in the ceiling guide with direct/indirect light distribution
Figs. 31 + 32 Figs. 39 + 40
Gimbal-mounted spot as recessed downlight with spotlighting Escape sign luminaire
characteristics (left) and as power track spot (right); power track is
also suitable for recessed ceiling mounting.
Figs. 33 + 34 Figs. 41 + 42
Fibre-optic lighting system for display cabinets: the light guides Recessed floor floods (left) for illumination and accentuating light,
are inside curved tubes. An optical connector at the end of the and orientation luminaires for recessed wall mounting (right)
fibre/tube distributes the light.
Figs. 35 + 36 Figs. 43 + 44
Miniature LED luminaire, installed here in the ceiling of a display Projectors for illumination, with reflectors for spotlighting (left) and
cabinet for showcase lighting floodlighting (right) beam spread
39
Luminaires
Filters
The most important filters
Figs. 51 + 52 for exhibitions are safelight
60° wide-angle spot: symmetrical, very wide-angle beam with very
filters (“Light protection”,
soft contours and soft centre, almost floodlighting characteristics;
see page 30) such as UV
lamps: various low-voltage halogen lamps
barrier filters, IR absorbers
or combinations of the two.
Colour filters are also avail-
able; where filters are used
in exhibitions at all, they
Flood with wide rectangular are used for subtle colour
beam: rectangular housing with changes. Filter holders
scoop reflectors for linear lamps, or filter cartridges enable
very wide-angled beam for several filters to be kept
uniform vertical illuminance; ready for use.
lamps: tubular fluorescent lamps
Figs. 53 + 54
40
86 90 94
anti-glare cylinder gobo holder UV/IR filter
87 91 95
barn doors projection attachment daylight conversion filter
88 92 96
honeycomb screen flood lens skin-tone filter
89 93 97
cross-baffle sculpting lens filter cassette
41
Standards and literature
99
42
page:
101
107
104
Darmstadt
Illustrations
Photographs
108
105
102
photographs
Marquardt, Wiesbaden
109
106
103
38 Jürgen Tauchert, Wuppertal
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18
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