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LIGHTING ART at the
The Smithsonian American Art Museum
SCOTT ROSENFELD L.C.,IESNA [email protected]
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Understanding the controllable properties of light allows people to literally “see the light.”
In other words…..
You can’t see what you can’t control!
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Controllable Qualities of Light
1. Intensity
2. Movement
3. Angle
4. Distribution
5. Color
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• Very Light Sensitive: 50-75 Lux • Low Sensitivity: 150- 300 Lux
Typical Museum Lighting Requirements
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http://research.nglondon.org.uk/scientific/spd/?page=home Resource: Joseph Padfield’s website at the National Gallery UK on SPD
. CIE:157:2004 “Control of Damage to Museum Objects by Optical Radiation”
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EARLY MODERNISM GALLERY. 16’4” CEILING
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RENWICK GALLERY: 35’-0” CEILING
SSL Wish List: High Lumen PAR38 Lamps
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LUCE CENTER : 8’-0” CEILING
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Controllable Qualities of Light
1. Intensity
2. Movement 3. Angle
4. Distribution
5. Color
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SSL Wish list MR16’s that don’t flicker
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Wish List: Light weight MR-16’s that equal 50 watts incandescent.
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Wish List: Lamps that are guaranteed not to flash on failure
The Robert and Arlene Kogod Courtyard opened with a new
glass enclose in 2007.
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Controllable Qualities of Light
1. Intensity
2. Movement
3. Angle 4. Distribution
5. Color
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Controllable Qualities of Light
1. Intensity
2. Movement
3. Angle
4. Distribution 5. Color
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REMOTE PHOSPHOR LED MODULE INSTALLED IN NARROW BEAM REFLECTOR
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4-DEGREE LED
MR-16 RETROFIT
XICATO LED MODULE INSTALLED IN NARROW BEAM REFLECTOR
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SSL Wish List: AR111 retrofit lamps!
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EXAMPLE OF DISTRIBUTION OF OSRAM SYLVANIA LED PAR LAMPS
BEAM
SPREADS
4° 8 ° 15 ° 25 ° 40 °
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SSL Wish list: All new fixtures should include passive ventilation!
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SSL Wish List: New luminaires that extra value like variable beam-spreads
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Flight of Europa, 1925 by Paul Manship
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Flight of Europa, 1925 by Paul Manship
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Flight of Europa, 1925 by Paul Manship
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3 TYPES OF LENS 70 Degree 55 Degree 55 X 75 Degree
PAR-30 OBJECT LIGHT
CUT-OFF AND CROSS BAFFLE
ON/ OFF SWITCH
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DISTRIBUTION OF LIGHT IS SIMILAR
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≠
DISTRIBUTION OF LIGHT IS NOT SIMILAR
≠
CLEAR FROSTED
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Controllable Qualities of Light
1. Intensity
2. Movement
3. Angle
4. Distribution
5. Color
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1) Chromaticity.
What is the apparent color light?
2) Color Rendering.
What colors are the light capable of reflecting?
3) Damage Factor.
How does spectrum impact damage potential?
THE COLOR OF LIGHT
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CHROMATICITY
COLOR RENDERING
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ANSI C78.377-2008 Tolerances ± .0006 Du’v’ ± 145K at 2700 Kelvin
CO
LO
R T
EM
PE
RA
TU
RE
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2700K LED (86 CRI)
3000K LED (95 CRI)
Halogen (100 CRI)
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3000K LED (95 CRI)
2700K LED (86 CRI)
Halogen (100 CRI)
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3000 K 4000 K
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3000K 4000K
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• Only 8 colors pastel colors represented
• No saturated colors are included (RGB and CMY)
• The CRI score does not correlate well with visual evaluation in many cases” (Ohno, Davis 2010).
• CRI only measures fidelity and does not access; “increased color saturation, color discrimination ability, and visual clarity (K. Hashimoto and Y. Nayatani 1994)
• Increased color saturation may be use to counter Hunt effect at low illuminances.
Challenges of relying on CRI
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Color Rendering
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∆C*ab
8.33
4.32
2.03
2.18
1.78
3.82
7.09
5.49
3.47
1.48
0.61
-0.08
2.34
5.71
6.87
VS1
VS2
VS3
VS4
VS5
VS6
VS7
VS8
VS9
VS10
VS11
VS12
VS13
VS14 VS15
ACCESSING SATURATION WITH CQS
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Olek, 2012. Knitting is for Pus****, Yarn and mixed media, courtesy of the artist and the Jonathan LeVineGallery, New York. Photo by Scott Rosenfeld
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Wish List Item #1: Lamps that maintained their color over time!
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The following data was taken to show the color changes perceived by staff at various museums. The measurements were taken using a calibrated Ocean Optics Jaz Spectrometer. The purpose of taking measurements was to quantify the extent of problems found in 5 different manufactures lamp types. The lamps were tested in 4 different museum buildings across the Smithsonian. Note: the data in the following slides are preliminary and accuracy of the spectrometer has not been fully established. However, the spectroscopy results are consistent with visible color shifts.
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Museum Building #1
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#1
.005 ∆u'v @ 6600 hrs Manufacture #1, lamp type B
.0037 ∆u'v @ 6600 hrs Manufacture #1, lamp type A
.016 ∆u'v @ 6600 hrs
Color Maintenance Nightmare: PAR30/SP, PAR30/FL, MR16 (RIGHT TO LEFT) Photo from file, not from gallery with color changes.
Manufacture #5 (MR16)
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PAR30/ 3000K WITH CREE XPE CHIP AND THEMISTOR
NEW (BASE) .0024 ∆u'v' @ 4000 hrs
.005 ∆u'v @ 6600 hrs
.008∆u'v' @ 5750 hrs
Manufacture #1, lamp types A and B
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PAR30/ 3000K WITH CREE XPE CHIP AND THEMISTOR Manufacture #1, lamp type A and B
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Museum Building #2
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Chromaticity of lamps looked great out of the box (matched between lamps).
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.008∆u'v' @ 4000 hrs/10 watts (2879K/ .002 Duv)
.007∆u'v' @ 4000 hrs/ 16 watts (2630K/ .003 Duv)
Manufacture #2, lamp at 10 watts
Manufacture #2, lamp at 16 watts
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PAR38 LAMP WITH CREE XPG CHIP
.008∆u'v' @ 4000 hrs – 10 watts (2879K)
.007∆u'v' @ 4000 hrs – 16 watts (2630K)
NEW (BASE)
Manufacture #2. Comparing lamps driven 10 and 16 watts
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.008∆u'v' @ 4000 hrs 10 watts
.007∆u'v' @ 4000 hrs 16 watts
PAR38 LAMP WITH CREE XPG CHIP
Manufacture #2. Comparing lamps driven 10 and 16 watts
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photo by: sonofgroucho.com
HIRSHHORN MUSEUM AND SCULPTURE GARDEN
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PAR38/3000K /15 degree
.017∆u'v‘ @ 8,000 hours (2716K/ )
NEW (BASE) (2969K)
Manufacture #3, Museum Building #3
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PAR38 LAMP/ 35 DEGREE/ 20.3 WATTS
.027∆u'v‘ @ 10,000 hours (2403K)
New (base)
Manufacture #4 , Museum Building #4
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PAR38 LAMP/ 35 DEGREE/ 20.3 WATTS
.027∆u'v‘ @ 10,000 hours
Manufacture #4 , Museum Building #4