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LIGHTING SPECIAL GALLERY CASE STUDY


ILLUMINATION


Artful W


The design for the new Hepworth gallery aims to provide optimum light to show off the eponymous British sculptor’s works, as well as serving the needs of other, light-sensitive works. Florence Lam of Arup Lighting outlines the approach taken


ith buildings often housing priceless artwork and exhibits, conservation, security and protection are


clearly paramount in the design of galleries and museums. Perhaps for many of these exhibits the best way to preserve them would be in a darkened room, but of course that would somewhat defeat the object of a gallery and it’s important that they are shown to their best advantage for the benefit of the visitor. With a long track record working with museums and galleries, design consultancy Arup Lighting has been involved with projects ranging from the Victoria and Albert’s Medieval and Renaissance Galleries, through to the Malaga Picasso Museum, the New Acropolis Museum in Athens and the Brandhorst Museum in Germany. The Hepworth Wakefield is one of the


most recent that Arup has completed in the UK, opening to the public in May 2011. With an inspirational design by David Chipperfield Architects, it is one of the UK’s largest purpose-built art galleries outside of London. It displays the work of sculptor Barbara Hepworth, as well as the City of Wakefield’s art collection and exhibitions by contemporary artists, throughout a cluster of discrete trapezoidal rooms on the upper level. Arup delivered the natural and


38 CIBSE Journal December 2011


architectural lighting design with two goals: to conserve the gallery’s temporary exhibitions and to present Barbara Hepworth’s 44 original plaster sculptures literally in an optimum light. The lighting design principle strikes a careful balance between the long-term conservation of light-sensitive works and the visitors’ visual needs. Arup aimed to ensure that each space was designed within the established international standards for limiting illumination, but this was determined in terms of the following cumulative light exposure (a measure which actually determines the rate of deterioration of artwork): l Works on paper: 50 to 80 lux, or 150-240 klux.hr


l Oil paintings: 200 to 250 lux, or 600-750 klux.hr


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