Natural and architectural lighting are combined to show off Barbara Hepworth’s work at the new eponymous gallery


l Sculpture – painted (depending on type of paint): 80 to 250 lux, or 240-750 klux.hr


l Sculpture – natural finish: up to 800 lux, or up to 2,400 klux.hr The brief required the design to bring the


outdoors in, so daylight can be experienced in the galleries. The lighting concept was to use windows for the views, and skylights to animate the space. The intention was to develop skylight and window designs producing varied daylight distribution across each space, allowing works on paper to be displayed in darker areas, for example, and sculpture to be displayed nearer daylit areas expressing a coherent, curatorial story. In other words, the space is asymmetric


in lighting terms, allowing the curator the freedom to put relevant sensitive and non-sensitive artwork together, rather than


www.cibsejournal.com


the selection being partially dictated by conservation constraints. The process was begun by applying


regional historical weather data to the geometry of each room over the course of a year to estimate the extent of daylight exposure. Arup developed a methodology to assess how a particular geometry/ fenestration arrangement responded to daylight. Where the exposure exceeds the allowable levels, shading systems are used to optimise the light for particular scenarios. To help the curators determine suitable


locations for artwork with various light sensitivities, the team developed a daylight mapbook, which gives a three-dimensional representation of the annual exposure prediction for each gallery. The strategically placed windows within


December 2011 CIBSE Journal 39


The team developed a daylight mapbook, which gives a three-dimensional representation of the annual exposure prediction for each gallery


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68