Ameer Mustafa Varzgani | TermII - Research Paper II | MSc/MArch SED 2014-15

Research Paper II
Importance of Daylight In Art Galleries
Ameer Mustafa Varzgani
27th April 2015

2014-2015
MSc/MArch
Sustainable Environmental Design
Architectural Association School of Architecture
Graduate School
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 Ameer Mustafa Varzgani | TermII - Research Paper II | MSc/MArch SED 2014-15

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 Ameer Mustafa Varzgani | TermII - Research Paper II | MSc/MArch SED 2014-15

AA SED MSc & MArch Sustainable Environmental Design 2014-15

Authorship Declaration Form

SUBMISSION: Term II - Research Paper II

TITLE: Importance of Daylight in Art Galleries

NUMBER OF WORDS: 3350

STUDENT NAME: Ameer Mustafa Varzgani


DECLARATION:
“I certify that the contents of this document are entirely my own work and that any quotation or
paraphrase from the published or unpublished work of others is duly acknowledged.”

Signature:

Date: 27th April 2015

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Ameer Mustafa Varzgani | TermII - Research Paper II | MSc/MArch SED 2014-15

Abstract
This paper emphasizes on the importance of
­daylight in art galleries and how it can enhance
the artwork, as well as the visual quality among
the viewers. The paper is carried out into two
sections; literature review followed by fieldwork.
To ­understand the key parameters of lighting art
and principles of daylight systems, literature was
reviewed. 5 different galleries were considered as
a case-study. The visited galleries were analyzed
considering their geometry, color and materials.
Comparison between the artificially and natural
lit areas were made to get a better understanding
of the quality of light.The conclusions are aimed
to create a better understanding between art and
daylight and how it is important in this specific
building type.

Keywords: daylighting, art galleries, visual quality,

color temperature, user behaviour

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Acknowledgements
I would like to thank Simos Yannas for the
­resourceful and cooperative discussion during the
tutorials. I would also like to thank SED ­faculty
alongside Nick Baker and Dean Hawkes for
­delivering intensive lectures on daylighting.

Last but not the least; I am thankful to my family for

their support under every circumstances.

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Table of Contents
i. Abstract 05
ii. Acknowledgment 06
1.0. Introduction 09
2.0. Methodology 09
3.0. Literature Review 10
4.0. Fieldwork 12
5.0. Conclusions 16
6.0. References 17
7.0. Dissertation Project Brief 19

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1.0 Introduction 2.0 Methodology

There are several schools of thoughts on role of
architecture in art galleries and exhibition spaces.
On one hand it states that the building should
not dominate and allow the art to speak. On the
other hand, it is stated that the surrounding should
enhance the experience and contribute to artwork
displayed. ­
Exhibiting art is dependent on the nature and
material of art work. Often galleries are colored
white or with neutral colors. The more the art work
is exposed the more it has tendency to deteriorate.
The overall layout of an exhibition is also to be
considered which is often regarded as a journey
showing the evolution of ideas and their portrayals.
To have the most impact on the viewers, some of
the exhibitions involve themes and chronological
displays of artwork and keeping the masterpiece
for the end of the journey.
Light is one of the essential and influential
­elements in exhibition spaces. The role of light in
art g
­ alleries is not just to facilitate viewers to see the
work but also to preserve the artwork. ­Therefore,
art ­galleries are one of the most complex building
types to be illuminated by daylight.
­­­­­­­Certain light wavelengths and intensities can
damage sensitive artworks such as prints,
drawings, photographs or watercolors. While,
few inks, pigments and fabrics are likely to
tolerate the lengthy exposure of light. As the
­
direct sunlight can reach over 30,000 lux, it is
­ Since no physical method is present to evaluate
not ­ recommended to use in any circumstances
on light sensitive artworks because it will lead to
­deterioration. ­Artwork ­undergoes photochemical
damage ­ (fading) and photomechanical damage
­(structural damage) u ­ nder an undesirable ­intensity
of light. The ­acceptable d
­ aylight factor for the work
of art in European ­countries ranges from 0.5 to
2% ­(Fontoynont 1999). The maximum desirable
­exposures for a painting are 30 foot-candles (ftc)
which is equivalent to 325 lux.
The main objective of this paper is to investigate
the importance and characteristics of daylight in
art galleries. The research was conducted into two
sections; literature review followed by ­fieldwork.
Literature and theoretical background was
­
­consulted regarding:
• Aspects of lighting art,
• Human Adaptability and Psychology, and
• The principles of daylighting and the quality of
light we receive from different systems.
The above mentioned theoretical background
was followed by fieldwork. Due to the various art
­collections and the presence of daylight, following
art galleries and museums of London were visited:
• Lisson Gallery,
• Sackler Galleries, Royal Academy of Arts,
• The Sainsbury Wing, National Gallery,
• Tate Britain and
• Sir John Soane’s Museum.
For each aforementioned gallery, the observations
were made in the following order:
• Geometry, Color and Material of galleries,
• Illuminance was recorded with lux meter,
• Comparison between artificial and naturally lit
areas,
• The display pattern of artwork was observed
with the reference to the light; both natural and
artificial and
• Viewer’s pattern and amount of stay.
the visual and daylight quality, the observations
may conclude with subjective impression.

Taming the intensity of light and number of

­illuminance-hours per year prevents artwork from
being damaged from the ultraviolet waves. The
­deterioration can be minimized by the minimizing
the energy absorbed by the artwork in art ­galleries.
Therefore, a good lighting design is needed to
­lower the overall light distribution and levels.

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3.0. Literature Review

3.1. Aspect of Lighting Art
Lighting is a complex in art galleries and there are
some few aspects that should be considered in
­order to achieve optimum results:
Ambient lighting:
Ambient lighting is essential when it comes to
achieve high quality lighting for artwork. Light on
the artwork should be about 3 times as bright
or ­intense as the ambient light. This allows the
­artwork to appear in the foreground and focused.
3.2. Human Adaptability and Psychology
Being adaptive in nature, humans can even
read a newspaper by moonlight which has an
­illumination level of merely 0.5lux, as well as, in
a sunny day where the level can be more than
25000lux (Hawkes 1996). We heavily rely on the
­information we gather through vision and visual
acuity ­increases as illumination increase. Visual
quality mainly depends on the field of view which
should have both aesthetic qualities and a certain
degree of interest (Baker and Steemers 2002).

Color temperatures: Artificial light is static and monotonous, which may

As art pieces are sensitive to heat, infrared lead to visual efficiency but leads to ­emotional
radiation (IR) and ultraviolet (UV), therefore,
­ fatigue (Oliveira, Steemers 2008). Human eye is
the color temperature of the light be appropriate used to continuous change and due to this ­adaptive
enough to avoid damages. The color temperature mechanism, each scene is viewed differently
is also chosen according to the theme that ­artwork ­depending on the brightness and its s­ urroundings
requires. Some requires warmer colored light (Oliveira, Steemers 2008).
whereas some requires cooler.
According to Falk’s Study in Florida State Museum
Color Rendering Index (CRI): of Natural History (1984), behavior of an adult is
The measurement of the light’s ability to stay true constant during the first 30 to 45 minutes and after
to color ranging from 1 to 100 (100 is the most that they experience ‘museum fatigue’ (Oliveira,
true) is known as Color Rendering Index (CRI). It is Steemers 2008).
desirable to have a higher to CRI when lighting art.
Kruithof’s Curve:
Kruithof, a Dutch researcher, published a graph
Color which quantitatively shows a ­relationship ­between
Source Temperature CRI color temperature, intensity and ­ quality of
(K) illumination source (Weintraub 2000). Kruithof’s
­
Candle 1700 100 curve (see Figure 3.2.1) is used as a tool to ­describe
Low Pressure Sodium 1700 -47 the general experience of light as ­ pleasant or
High Pressure Sodium 2100 25 ­unpleasant. Although the curve does not ­provide
the information on how color ­ temperature af-
Domestic Incandescent Lamp 2700 95-97
fects the perception of the observers in a specific
Tungsten Halogen 3200 96-98
­environment.
Fluorescent 2700- 6500 55-90
Metal Halide Lamp 4000- 7000 60-95
Natural Sunlight 5000-6000 100
Table 3.1.1: Color Temperatures and CRIs of various light
sources
(Source: http://www.mikewoodconsulting.com/articles/Protocol%20
Winter%202010%20-%20CRI%201.pdf)

Table 3.1.1 shows the color temperatures and CRI

values of different sources of light.

Light Positioning:
Lighting positioning is an important aspect for
­exhibiting art. Normally, in order to reduce glare,
light source is kept at 30 degree angle from the
piece of art.

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Figure 3.2.1: Kruithof’s Curve showing the pleasing
­illumination range under different intensity of illumination and
color temperatures of illumination
(Source:http://cool.conservation-us.org/waac/wn/wn21/wn21-3/
wn21-308.html)
3.3. Daylight Systems
3.3.1. Side-lighting
Side-lighting is the method of bringing in daylight is
through the apertures created the walls (see ­Figure
3.3.1). This method admits a strong directional
light which diminishes as the distance increases.
a. Vertical windows
Vertical windows are the conventional and typical
method of natural lighting (see Figure 3.3.1).
In a gallery space, side-lightings are often
­discouraged, as they occupy the space on walls
and are likely to produce glare.
b.Clerestories
Clerestories are another type of vertical windows
are shown in Figure 3.3.1. For a gallery space, this
method of introducing light is the most ­affective.
The daylight is admitted from a height into a space
without creating any discomfort glare. This method
also allows brighter and deeper daylight ­penetration
into the space with less variation in the illuminance
as compared to other systems. Light entering from
higher point reaches the vertical surface without
any obstruction, thus avoiding ­unwanted shadows.
Clerestories are commonly used for daylighting art
galleries.
Figure 3.3.1: Side-lighting system; Vertical Window and
Clerestory
Figure 3.3.2: Toplighting system; Skylight/Rooflight
3.3.2. Toplighting
In this concept the light is allowed from the top
of the room into the space (see Figure 3.3.2).
Daylighting pattern from toplighting is different
­
from the side-lighting systems. Toplighting restricts
natural light to upper level of the building. If the
rooflight is not placed strategically, it may allow
­direct sunlight which can cause a discomfort glare
inside the space.
a. Skylight/ Rooflight
Roof are planes on which these apertures are
­located and will allow a large quantity of light inside
which can be distributed throughout the room. In
galleries, this concept is mostly used as it doesnot
obstruct the exhibition space. This system is often
combined with louvers and translucent textures
in order to avoid the direct sun entering the room
(see Figure 3.3.2).
3.3.3. Reflectance
Interior surfaces have a huge impact on the
­performance of daylight in a space. Ceilings are
considered the most important surface in order
to reflect and distribute the incoming daylight.
­After the daylight is entered in the room, walls are
second most important surface. ­
­ Simultaneously,
walls have a significant role in art galleries as
they one of the mediums on which artworks are
­displayed. The third impact is of the floors.
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4.0. Fieldwork
4.1. Lisson Gallery
Lisson Gallery is a contemporary art gallery l­ocated
on Bell Street, London. The gallery ­consists of
6 exhibition spaces where as the main entrance
­gallery was daylit through s­ kylighting system (see
Figure 4.1.1). From the interior, the ­appearance
of the main exhibition space is ­ trapezoid, with
­skylights both on the tapered and horizontal roof
(see Figure 4.1.2). The glass of the skylight was
semi-translucent glazed to diffuse the incoming
­
light, with no a­ dditional ­louvers or blinds. ­Alongside
these ­skylights, the artificial lightings were hanged
as shown in Figure 4.1.1. The ­artificial lighting
was in this exhibition space can also ­ enhance
­daylight, when the daylight isn’t sufficient enough.
Figure 4.1.1: Lisson Gallery: Lighting System and Materiality
The ­ceiling and the walls were all painted white
­providing a high reflectance value of 66%, where-
as, the floor was grey polished cement with a re-
flectance of 20%.

Due to the clear sunny day and artificial light, the

illuminance level in this exhibition space ranged
from 469lux to 1500lux. As the mediums used in
the paintings were oil paints and the priority is not
to conserve it, such strong light wouldn’t create
any problems. However, while viewing the artwork,
the multiple shadows interfered with the artwork
displayed (see Figure 4.1.3). Figure 4.1.2: Lisson Gallery: Section and Geometry

At the same time, an experiment was made,

where all the artificial lights were turned off and
observations were made to compare with the
­
previous results. The maximum illuminance level
dropped from 1500luxs to 700luxs, which is even
more than sufficient for the art galleries. This also
resulted in singular soft shadow while viewing the
artwork, with an angle that wasn’t interfering with
the canvas.

The daylight factor within the space ranges from

3.2% to 6.8%, where values from 0.5% to 2% are Figure 4.1.3: Shadow study while viewing the artwork under
acceptable in European countries (­Fontoynont
­ artificial light
1999). As shown in Figure 4.1.2, there are some
strong uneven patches due to the ­directional ­artificial
lights, which defy the meaning of the m ­ inimalist
approach of the painting that was ­displayed during
that time. And when the ­artificial lights were turned
off, the patches were more d ­ iffused without m
­ ajorly
striking with the paintings (see Figure 4.1.4). In
­addition to this, the higher color temperature of
the daylight of around 5500K, complimented the
­textures of the paintings too. When the readings
were plotted on Kruithof’s curve, the points were
within the pleasing ­illumination for both the cases
Figure 4.1.4: Shadow study while viewing the artwork under
(see Figure 4.0.1).
natural light
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Figure 4.0.1: Recorded readings the visited galleries plotted on Kruithof’s Curve

4.2. Sackler Galleries, Royal Academy of

Arts
Sackler Galleries are part of Royal Academy of Arts,
which is an independent institution which ­supports
and promotes art through various ­programs. The
Sackler Gallery emerged as a ­ refurbishment
program for the Victorian Diploma galleries
­
­commissioned to Foster and Partners. The basic
geometry of the galleries, as shown in Figure 4.2.1
and Figure 4.2.2, was mainly ­dominated by the
­existing plans of Burilington House.

There are three main exhibition spaces, which

has skylights composed of translucent followed by
operable louvers and blinds. The reception area Figure 4.2.1: Sackler Gallery: Plan and Spot Measurements
is also used as the part of exhibiting sculptures
displayed with combination of glazed translucent
glass walls complimented with artificial lights. As
the glass walls were facing north, they were not
receiving direct solar radiation which is favorable
for artworks such as marble sculptures. The high-
est illuminance level reached at the reception area
reached up to 480lux. The use of daylight in the
reception creates the area more inviting than the
main reception at Burilington House entrance.

As the artworks were ancient and sensitive, the Figure 4.2.2: Sackler Gallery:
Section
skylights were closed and the space was lit by
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artificial lights. A series of readings were taken in
order to understand the distribution of light within
the space when artificially lit. As shown in Figure
4.2.1, an uneven distribution of light is observed,
with illuminance values varying from 59lux to
164lux.

Viewer’s behavior was observed and the time they

spent on one painting was from 1 to 3 ­minutes
when in pairs or groups and about 40 seconds
when ­individual. Due to the proper p ­ ositioning of
light and lower ambient light, no shadows were
­observed. Although with a good CRI value of ­95-98,
when the average reading were ­plotted against the
color temperature 3300K on the Kruithof’s curve,
the point lies outside the pleasing illumination (see
Figure 4.0.1).

4.3. Sainsbury Wing, National Gallery Figure 4.3.1: Sainsbury Wing Gallery Plan showing different
sizes of the rooms
Sainsbury Wing, National Gallery houses (Source:http://www.nationalgallery.org.uk/visiting/floorplans/level-2/)

­collection of early Italian and Northern ­Renaissance

paintings. The galleries are arranged according
­
to the h ­ierarchy of different size rooms (small,
medium and large), where each room is lit with
a controlled combination of natural and artificial
light (see Figure 4.3.1 and Figure 4.3.2). Natural
light for the large and medium sized rooms were
admitted through clerestories with translucent
­
glass and ­external louvers to prevent the risk of
sunlight penetration (see Figure 4.3.2). ­Skylighting
was used for the small rooms with lower ceiling
heights (see Figure 4.3.3). The clerestories facing
in four ­different directions balance the directional
daylight.

Light grey walls and ceiling with reflectivity of 20%

and high ceilings and clerestory ­ compliments Figure 4.3.2: Sainsbury Wing Gallery: Clerestory combined
together to allow diffused light without any
­ with artificial lighting
­discomfort glare for the viewer (see Figure 4.3.4). In
addition to this, the neutral grey on the walls assist
projecting the paintings. The average ­illuminance
recorded at human eye level near the paintings
was 200lux. Readings were taken at the same
­level in the small rooms, which used ­horizontal
roof light combined with artificial directional light.
The illuminance level ranged from 70lux to 134lux
with daylight factor range of 0.28% to 0.8%. It was
observed that the lower the light level at the g
­ allery,
the lesser the time was spent in the room.

When asked to observers about the quality of the

environment, they felt pleasant. However, when
the reading was plotted into Kruithof’s curve, the
result came under unpleasant illuminance (see
Figure 4.0.1).
Figure 4.3.3: Sainsbury Wing Gallery: Rooflightings for
­smaller rooms
The research was carried out in the rest of the
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Figure 4.3.4: Sainsbury Wing Gallery: Materiality and Figure 4.3.5: National Gallery: Skylight and its supporting
­Geometry systems

­ ational Gallery rooms, where most of the rooms

N
were daylight through skylighting. As it was
­observed, linear roof monitors were used to avoid
direct sun (see Figure 4.3.5). The illuminance ­level
ranged from 413 lux to 900lux with the d ­ aylight
factor ranging from 1.6% to 3.6%. When the
­
­average reading was plotted on Kruithof’s curve,
the point was within the pleasing illumination (see
Figure 4.0.1).

As compared to the Sainsbury Wing Galleries,

the amount of stay at the rest of National Gallery
was longer due to different variety of spaces that
it ­
offered in combination of the daylighting. As
human eye is used to variations, colors played
­
an ­important part to break the monotony of the
­spaces.

4.4. Tate Britain

During the time of visit at Tate Britain, C ­ hristina
Mackie’s1 work was exhibited. As daylight
appreciates the true color of textiles and its
­ ­display / Clerestory and Rooflight System combined
­psychological effect, it portrays the clear picture
of Mackie’s work (see Figure 4.4.1). The natural
light admitted in this space is through two systems;
clerestories and rooflights (see Figure 4.4.1). Both
the systems are controlled by external louvers.
The combination of two systems allows an even
­distribution of light with average of 280lux ­nearby
the artworks. The daylight is enhanced by light
­colored walls with reflectance of 57%, white ­ceiling
(reflectance: 84%) and floor with reflectance
­varying from 20% to 40%. Due to the composition
of the materials and light entering, the daylight
Figure 4.4.1: Tate Britain: Christina Mackie’s ‘the filter’ on
f­actor reaches up to 9.3% within this room. During
the time of visit to Tate Britain, the o ­vercast
condition widened the comparison between
­
the sources of daylight received. The recorded
­readings then were plotted into Kruithof’s curve
and although it was an overcast day, the point lies
within the pleasing temperature (see ­Figure 4.0.1).
1. Christina Mackie is UK based trained painter and her work has
developed mostly on color and its perception. Her work is built on net-
work of associations where she uses colors and pigments to explore
both private world of memory, meaning and perception and the public
sphere of scientific knowledge culture and philosophical debate.
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Compared to this room, the other rooms were
­using skylight with louvers to control the exposure
and sun penetration. With the use of artificial lights
to boost the daylight, the daylight factor reaches to
15%. Due to appropriate system and proper use of
­reflectance (see Figure 4.4.2), the light is evenly
distributed w­ ithout creating any glare or ­obstructing
­shadows. Due to the ambience c­ reated by the
daylight, p
­ eople tend to stayed longer there as
compared to artificially lit rooms.
from clerestory creating homogeneity. The light is
distributed evenly in the room with few reflections
on the pictures.
With just daylight entering from the voids, the base-
ment received sufficient light to light the sculptures
and reliefs. Due to low illuminance, curiosity and
appreciation was developed amongst the viewers.
When compared to the other galleries with simi-
lar illuminance artificially lit, viewers seemed much
satisfied and stayed longer.

5.0. Conclusions
Light being distinctive feature in art galleries should
be considered carefully for a better ­ performing
gallery. Art galleries and exhibition spaces are
­
open when daylight is available, therefore,
­availability of daylight can result in to economical
and ­psychological benefits.

From the observations made during the visits, light

plays an important part in judgment that ­people
make. The presence of daylight is ­ needed to
avoid the visual fatigue, which may result if the
­illuminance is not fully satisfied. Visual tasks are
supposed to perform with accuracy, safety and
smoothly (N.Baker and K. Steemers 2002). Since
the visual tasks are generally located between 0.3
and 0.7 m from the eyes in case of art g­ alleries, the
Figure 4.4.2: Tate Britain: Skylight, Geometry, Systems temporarily receded near-point may well fall in this
range, hence the visual performance ­deteriorates.
In addition to this, daylight does not only provide a
4.5. Sir John Soane’s Museum better color rendering but also have better ­luminous
quality that cannot be achieved by artificial light.
Due to the high sensitivity of the antiques, no
equipment were allowed inside to physically
­
Daylit areas of the visited galleries were m ­ ostly
measure the light, therefore, the observations
­
crowded for most of the time, which shows an
were made through theoretical background and
­appreciation of natural light by the viewers. Natural
­subjective impression. As an architect himself, Sir
light is much pleasing and enjoyable when asked
John Soane (1735-1837) designed the house in
by the visitors.
order to be a museum in later days. The ­museum
is combination of spaces with lighting ­ devices
playing an important role. It is a three story house
where the main purpose for the windows was
the view and rooflights and mirrors to control
and ­ provide daylight on the artworks. The side
­vertical ­openings were mainly designed to have a
­connection with the outside. The skylights are the
main source to light the house on all three ­levels.
The clerestories and skylights were not only for
bringing light in physically, but for the ambience
and poetic feeling of it.

To create varieties of light, different colored glass

were used as filters. Picture Room receives light
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6.0. References
Nick Baker and Koen Steemers, (2002) ‘Daylight
Design of Buildings’, James and James (Science
Publisher), London, UK

Dean Hawkes, (1996) ‘The Environmental Tra-

dition-Studies on the architecture of environ-
ment’, E and FN Spon, London, UK

Fernanda Oliveira and Koen Steemers (2008),

‘Daylighting Museum-a survey on the behavior
and satisfaction of visitors’ in Passive and Low
Energy Architecture, Proc. Of PLEA ‘08, Dublin

M. Fontoynmont, (1999) ‘Daylight Performance

of Buildings’, James and James (Science Pub-
lisher), Hong Kong

Mohamed Boubekri, (2008) ‘Daylighting, Archi-

tecture and Health- Building Design Strate-
gies’, Elservier Ltd., Oxford, UK

Brain O’Doherty, (1976, 1986) ‘Inside the White

Cube- The Idealogy of the Gallery Space’, The
Lapis Press, San Francisco, USA

Web Pages Referred:

Visited on 18th April 2015: http://www.theguard-
ian.com/culture/2006/oct/19/1

Visited on 18th April 2015: http://www.affordable-

lamps.com/how-to-light-art.html

Visited on 18th April 2015: http://cool.conserva-

tion-us.org/waac/wn/wn21/wn21-3/wn21-308.html

Visited on 19th April 2015: http://venturiscottbrown.

org/pdfs/NationalGallerySainsburyWingLon-
don02.pdf

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7.0. Dissertation Project Brief

Title: Museums and Galleries:

an evolution, a survival strategy
Research Questions:

Significant amount of energy is used to maintain the internal environment of museums and art galleries
to present, protect and preserve the artifacts. With the technology evolving drastically, museums and
­galleries are going through some challenges. These challenges are organizational, social, economic
and environmental. Therefore, these problems need some initiatives to develop and support the local
­authorities to coop with increase in the energy demand to present, protect and preserve artifacts.

How to create a relationship which can reinforce the curatorial strategy for museums and galleries
­technologically and environmentally?

How can museums and galleries help us to sustain the quality of environment by portraying our past and
safeguarding the future?

Historical Background:

Evolution of Museums and Galleries:

An ideal gallery isolates the art from the world which detracts art from being evaluated precisely.

“In searching for the significance of this mode of exhibition one must look to other classes of chambers
that have been constructed on similar principles. The roots of this chamber of eternal display are to be
found not in the history of art so much as the history of religion, where they are in fact even more ancient
than the medieval church. Egyptian tomb chambers for example, provide an astonishingly close parallel.
They too were designed to eliminate awareness of the outside world. They too were chambers where
an illusion of eternal presence was to be protected from the flow of time. They too held paintings and
sculptures that were regarded as magically contiguous with eternity and thus able to provide access to it
or contact with it. Before the Egyptian Tomb, functionally comparable spaces were the Paleolithic painted
caves of the Magdalenian and Aurignacian ages in France and Spain. There, too, paintings and sculp-
tures were found in a setting deliberately set off from the outside world and difficult to access- most of
the famous cave galleries are nowhere near the entrances and some of them require exacting climbing
and spelunking to get to them.” (O’Doherty, Inside the White Cube- The ideology of gallery space, 1976)

Methodology

Literature review:
a. Evolution of museums and galleries
b. Museum and Gallery typologies
c. Technology within the museums and galleries
d. Energy consumption of museums and galleries
e. Key parameters in displaying artifacts
f. Active and Passive Energy uses for specific building type
g. Social Behavior; adapting museum display and practicing in their daily lives

Fieldwork:
a. Visit various galleries with different functions and uses
b. Learning the geometry, materiality and era that galleries were built
c. Spot Measurements
d. Viewer’s pattern and expectation: through surveys and questionnaire
e. Compare the galleries with respect to the systems that are used
f. Calculating the energy demand and carbon footprint of the visited galleries
g. Active and Passive Systems used for the galleries

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 Ameer Mustafa Varzgani | TermII - Research Paper II | MSc/MArch SED 2014-15

Expected Outcomes

From the literature review and fieldwork, the expected results would allow to set some guidelines that can
later be impremented in the design/ intervention. From the above mentioned process, there is a possibility
of deciding an appropriate site for a newly built museum/gallery or refurbishment of existing ones.

References and Source:

1. Nick Baker and Koen Steemers, (2002) ‘Daylight Design of Buildings’, James and James (Science
Publisher), London, UK
2. Dean Hawkes, (1996) ‘The Environmental Tradition-Studies on the architecture of environment’,
­E and FN Spon, London, UK
3. Fernanda Oliveira and Koen Steemers (2008), ‘Daylighting Museum-a survey on the behavior
and satisfaction of visitors’ in Passive and Low Energy Architecture, Proc. Of PLEA ‘08, Dublin
4. M. Fontoynmont, (1999) ‘Daylight Performance of Buildings’, James and James (Science
­Publisher), Hong Kong
5. Mohamed Boubekri, (2008) ‘Daylighting, Architecture and Health- Building Design Strategies’,
­Elservier Ltd., Oxford, UK
6. Brain O’Doherty, (1976, 1986) ‘Inside the White Cube- The Idealogy of the Gallery Space’, The
Lapis Press, San Francisco, USA
7. Erell, E., D. Pearlmutter and T.J Williamson (2010), Urban Microclimate: Designing the spaces
­between buildings. Earthscan
8. Nicol, J.F., Humphreys, S. Roaf (2012). Adaptive Thermal Comfort. Routledge
9. Gehl Jan, Svarre. (2013), How to study public life. Island Press
10. Baker N., (2007). Adaptive Thermal Comfort Controls for Building Refurbishment, Revival
­Technical Monograph 2, www.revival-eu.net
11. Givoni B.,(1998), Climate Considerations in Building and Urban Design. John Wiley and Sons,
Inc.

Timetable:

MAY 2015:
• Literature review,
• Listing of possible case studies for fieldwork,
• Fieldwork Survey Preparation,
JUNE 2015:
• Literature review,
• Architectural Study/ theoretical background study for chosen case studies,
• Fieldwork Survey Preparation,
JULY 201:
• Literature review
• Fieldwork: Spot Measurements, Surveys, Conclusions
AUGUST 2015:
• Literature review
• Fieldwork: Spot Measurements, Surveys, Conclusions
SEPTEMBER 2015:
• Choosing Site
• Creating guidelines from the fieldworks
• Site Analysis for the chosen site
OCTOBER 2015:
• Design
NOVEMBER 2015:
• Design/ Improvements
DECEMBER 2015:
• Finalizing Design
JANUARY 2016
• Completion/Submission

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