rosenfeld art sandiego2011
Post on 15-Apr-2017
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Slide 1
LIGHTING ART WITH LEDsat the
The Smithsonian American Art Museum
SCOTT ROSENFELD L.C., IESNA
The Smithsonian American Art Museum and The National Portrait Gallery were recently renovated and enhanced. The building was commissioned by President Andrew Jackson as the US Patent Office and dubbed a “Temple of Invention” upon it 's completion to signify it's resemblance to the Parthenon and it‘s role in spurring industrial innovation. Smithsonian's renovation included new lighting systems for 150,000 square-feet of exhibit space, plus a new 23,000 square-foot covered courtyard designed by Norman Foster. The Old Patent Office predates both artificial lighting systems and photography.
Slide 2
This is a patent with an image of the Old Patent Office in the background, it was issued to a Thomas A. Edison for improvements to the telephone. It is interesting to note that when this patent was issued in 1882 while the museum was in the midst of an eight year period of renovation. Smithsonian’s recent renovation of the building is only one in a long history where lighting designers, architects and engineers have been challenged with how to best bring light into this grand old building.
Slide 3
Controllable Qualities of Light
1. Angle2. Intensity3. Distribution4. Color5. Movement
Breaking down light in this way come out of tradition established in theatrical lighting. Museum, like the theater, primarily use focused lighting so for I like using these five properties as an organizing structure to discuss lighting design.
Slide 4
Grand Salon of the Renwick Gallery is 10.5 meters tall. This room is currently lit with conventional PAR38 and PAR46 incandescent lighting. As of February 2011, I have not found SSL retrofit products that can replace the existing 250 watt incandescent spot and flood lamps.
Slide 5
Typical Museum Lighting Requirements
1) Most Sensitive: 50 Lux2) Moderately Sensitive: 200 Lux3) Non Sensitive: No limit
• Intensity in museums is driven by conservation for the artifact. Use only the smallest quantity of light necessary to experience what is relevant about the object. “Make every photon count”.
• All light is damaging, requirements are based on smallest quantities of light needed to see. • Light is defined as wavelengths between 400 and 700nm. Other optical energies (IR and
UV) need to be minimized or eliminated, but minimizing the quantity and duration of illuminance (light) is essential for the preservation of organic colors.
Slide 6
Smithsonian American Art Museum’s 19th Century Gallery. Illuminated with Incandescent lamps.
Slide 7
Smithsonian American Art Museum’s, Luce Center. Illuminated with incandescent fixtures. Future site of a Gateway demonstration project.
Slide 8
Smithsonian American Art Museum’s, Luce Center. Illuminated with incandescent fixtures. Future site of a Gateway demonstration project. 2.5 meters
Slide 9
Controllable Qualities of Light
1. Angle2. Intensity3. Distribution4. Color5. Movement
Finding SSL retrofit lamps with the correct beam distribution for museum applications is an extreme challenge. For American Art’s Gateway project we found only a single manufacture making wide floods lamps (52 degree) and very narrow beam lamps (~4 degree). Neither the 52-degree of the 4-degree lamps match the intensity of the incandescent (halogen) counterparts. I am aware of no manufacture making lamps with asymmetric distribution for wall washing.
Slide 10
Smithsonian American Art Museum’s, Luce Center. This is an odd case where I am wall washing with a round lamp distribution, note the three scallops above each case. These cases are illuminated with three 50 watt MR-16 incandescent (halogen) lamps with prismatic lenses. The proposed Gateway demonstration project will replace these lamps with four 7-watt/ 52 degree MR16 LED retrofit lamps.
Slide 11
MR-16 OBJECT LIGHT MR-16 WALL WASHER
THREE CHOICES OF LENSES TO SHAPE THE LIGHT BEAMMR-16
Custom MR16 lighting fixtures for the Luce Center. The MR16 is a very glary source of light and great care was taken to reduce this glare by using a deep matte black snoot on the object light and a brushed aluminum kicker with a matte black edge on the wall washer. Manufactured by Zumbtobel Staff.
Slide 12
PAR-30 WALL WASHER
LENS
LIGHT REDUCTION SCREEN
OPTIONAL KICKER REFLECTORBLACK CUT-OFF
Unique properties of the wall washer developed for this project include a removable kicker reflector and a black interior for the wall washer.
Slide 13
3 TYPES OF LENS 70 Degree 55 Degree 55 X 75 Degree
PAR-30 OBJECT LIGHT
CUT-OFF AND CROSS BAFFLE
ON/ OFF SWITCH
Three different asymmetric lenses were developed for the project. Asymmetrical light distribution is essential for good wall washing that provides for an even light that subtly gets dimmer toward the ceiling without scalloping.
Slide 14
Smithsonian American Art Museum. Lighting and photography by Scott Rosenfeld
Rose Gallery at the Smithsonian American Art Museum. Future site of a Gateway Demonstration Project. Most of this room is illuminated with incandescent, the end wall is lit with LED’s.
Slide 15
Smithsonian American Art Museum. Lighting and photography by Scott Rosenfeld
This wall is illuminated with LED retrofit lamps. The wall to the right is illuminated with standard PAR30 and PAR36 incandescent lamps. The lighting technique used to light most painting galleries at American Art is separate system for wall washing and spotlighting.
Slide 16
Smithsonian American Art Museum. Lighting and photography by Scott Rosenfeld
LED Wall Wash Only with spread lenses. This slide shows the spotlighting turned off, what remains are three PAR30/ 20watt/ 25 degree LED Wall Wash fixtures with spread lenses. The asymmetric spread lenses are essential for rendering the walls evenly so the light is brightest at eye level and subtly falls off toward the ceiling. Only 30-50 lux is required for this layer of light.
Slide 17
Smithsonian American Art Museum. Lighting and photography by Scott Rosenfeld
Wall wash with spread lens removed. The asymetric lenses are essential for counteracting the natural scallop of a light beam with a round distribution. The lenses produce a tremendous loss in luminaire efficacy – my dream is that an SSL manufacture could produce an asymetric array for wall grazing so I can stop throwing away so much light inside a glass lens.
Slide 18
Smithsonian American Art Museum. Lighting and photography by Scott Rosenfeld
Spotlights on and Wall washers off. Spotlights from right to left are 20 watt/12 degree/ PAR30L,. 20 degree/ 20 watt/ PAR30L, and 5 degree/4 watt/ MR-16.
Slide 19
Smithsonian American Art Museum. Lighting and photography by Scott Rosenfeld
Spotlights turned back on along with wall wash. The artwork is illuminated at 150-200 lux.
Slide 20
MR-16 retrofit lamp with diffusion lenses removed.
Slide 21
Lenses that fit into MR-16
Slide 22
Linear spread #1 on MR-16
Slide 23
Linear spread #2 from MR-16
Slide 24
Controllable Qualities of Light
1. Angle2. Intensity3. Distribution4. Color5. Movement
In addition to asymetric low-glare flood lighting, museums also require precise spotlighting with a variety of beamspreads. The lamps we are considering for our Gateway demonstration project include a 6-degree, a 12-degree and and 25-degree.
Slide 25
A common exhibit lighting technique is to match the size of the light to the size of the artwork. Framing projectors would seem to be the obvious tool, but the incandescent versions are inefficient and the only SSL product I’m aware of (winter 2011) is prohibitively expensive for general use.
Slide 26
PAR Lamps• Filament is located at the focus point.
• Lowering the voltage decreases size of filament.
• The ratio between the size of filament and the size of the reflectordetermines the size of the resultant beam of light.
Most spotlights rely on the physical properties of a parabola to produce a precise beam of light.
Slide 27
PAR-36 OBJECT LIGHT
12V/OFF/5.5V SWITCH
PAR36 LAMP WITH FILAMENT SHIELD
LAMP SNAPS INTO BACK OF CROSS BAFFLE. ASSEMBLEY ALLOWS EXTERIOR LAMP ROTATION AFTER CARTIDGE IS INSTALLED IN CANISTER
DUAL TAP 12V/5.5V TRANSFORMER
The museum worked with fixture manufacture Zumbtobel Staff to develop a new line of track lighting fixtures. This series consists of a family of three lights; a PAR36 object light (shown above), a PAR30 object light, and a PAR30 wall washer.
Slide 28
AR111- 4 DEGREE 12 VOLT
5.5 VOLT – PAR-36 PIN SPOT.
MR-16 --15 DEGREE (ESX ) 12 VOLT
Common incandescent display lamps.
Slide 29
5.5 VOLT – PAR-36 PIN SPOT.
SSL MR-16
Slide 30
Flight of Europa, 1925 by Paul Manship
Smithsonian American Art Museum. Lighting and photography by Scott Rosenfeld
This sculpture is illuminated by four PAR36 fixtures containing 5.5 volt incandescent lamps. Photograph by Scott Rosenfeld
Slide 31
Flight of Europa, 1925 by Paul Manship
Smithsonian American Art Museum. Lighting and photography by Scott Rosenfeld
The photograph shows a single 5.5 volt incandescent lamp pushed to the left of the sculpture.
Slide 32
Flight of Europa, 1925 by Paul Manship
Smithsonian American Art Museum. Lighting and photography by Scott Rosenfeld
Final incandescent lighting.
Slide 33
Long view of gallery with incandescent lighitng. If the museum had used less precise light beams the small splashes of light and shadow behind each object would have been prominent and upstaged the artwork.
Slide 34
Renovated Gallery with incandescent low glare fixtures
Slide 35
Image of gallery circa 1999 before renovation. Note single row track with glary fixtures produces shadows on artwork.
Slide 36
Smithsonian American Art Museum. Lighting and photography by Scott Rosenfeld
Another example of the same phenomena. The lens and lamps were flush with the front of the lighting track fixtures from the 1960’s
Slide 37
Smithsonian American Art Museum. Lighting and photography by Scott Rosenfeld
The same hallway with the addition of incandescent wall washer lighting fixtures that shield the light from the viewer.
Slide 38
National Portrait Gallery. Lighting by Alexander Cooper, photography by Scott Rosenfeld
While most 20th century artwork needs to be flatly illuminated, 19th century artwork allows for more chiraschiro. For example in the image of Abraham Lincoln above the painting is illuminated at 15 footcandles with two incandescentPAR36 lighting fixtures and the background is illuminated at 5 footcandles with incandescent PAR30 floodlights. Lighting Design by Alexander Cooper, photography by Scott Rosenfeld
Slide 39
National Portrait Gallery. Lighting by Alexander Cooper, Photography by Scott Rosenfeld
Lincoln with PAR36 fixture turned off. Lighting Design by Alexander Cooper, photography by Scott Rosenfeld
Slide 40
National Portrait Gallery. Lighting by Alexander Cooper, photography by Scott Rosenfeld
Both PAR36 fixtures turned off. Lighting Design by Alexander Cooper, photography by Scott Rosenfeld
Slide 41
National Portrait Gallery. Lighting by Alexander Cooper, photography by Scott Rosenfeld
PAR36 fixtures aimed to the side.
Slide 42
National Portrait Gallery. Lighting by Alexander Cooper, photography by Scott Rosenfeld
Slide 43
National Portrait Gallery. Lighting by Alexander Cooper, photography by Scott Rosenfeld
Slide 44
National Portrait Gallery. Lighting by Alexander Cooper, photography by Scott Rosenfeld
Larger paintings don’t necessarily require more lighting fixtures. This portrait of Abraham Lincoln is illuminated with a two PAR30 spotlights and two PAR30 floodlights to illuminate the wall. Our goal is to match the size of the lighting beam to the artwork and avoid excess spotlight spill around the painting. Lighting Design by Alexander Cooper, photography by Scott Rosenfeld
Slide 45
National Portrait Gallery. Lighting by Alexander Cooper, photography by Scott Rosenfeld
Abraham Lincoln with flood lighting only. Lighting Design by Alexander Cooper, photography by Scott Rosenfeld
Slide 46
National Portrait Gallery. Lighting by Alexander Cooper, photography by Scott Rosenfeld
Larger paintings don’t necessarily require more lighting fixtures. This portrait of Abraham Lincoln is illuminated with a two PAR30 spotlights and two PAR30 floodlights to illuminate the wall. Our goal is to match the size of the lighting beam to the artwork and avoid excess spotlight spill around the painting.
Slide 47
Controllable Qualities of Light
1. Angle2. Intensity3. Distribution4. Color5. Movement
Slide 48
Smithsonian American Art Museum. Lighting and photography by Scott Rosenfeld
Here are slides for after your talk about “intensity” to support the need to have the proper intensity in order for artwork to be experienced. Paul Reed and Thomas Dowling
Slide 49
Painting by Paul Reed. Without good R9 color rendering properties, we won’t simply can’t see red for all it’s worth.
Slide 50
X-rite color checkers are extremely useful target for museums to compare different color lamps. CRI, CQS, CCT along with it’s DUV are all useful color metrics, but there is no replacement for actually seeing the lamp at work.
Slide 51
Each of these LED MR-16 lamps are a slightly different color.
Slide 52
Smithsonian American Art Museum. Lighting and photography by Scott Rosenfeld
Gallery at 3000K
Slide 53
Smithsonian American Art Museum. Lighting and photography by Scott Rosenfeld
Gallery at 2800K
Slide 54
Controllable Qualities of Light
1. Angle2. Intensity3. Distribution4. Color5. Movement
Slide 55
Sylvania’s flicker checker, developed to check for magnetic florescent ballast, is an extremely simple and useful too to… check for flicker.
Slide 56
MR-16’s often flicker, especially when installed in an electronic transformer (even at full voltage). Here, I retrofit the MR-16 into an AR-111 lamp and installed it in a magnetic transformer.
Slide 57
Questions1) Will the new lamps all be the same color?2) How will the heat from my sealed fixtures effect the SSL retrofit lamps?3) Will the color of the lamps remain constant over time?4) Will the lamps maintain their illuminance?5) Will lamps last their predicted lifetime?
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