044 MUSEUM LIGHTING / THE HEPWORTH, WAKEFIELD, UK Photograph: Courtesy The Hepworth Wakefield © Iwan Baan
Top The gallery glows at night on the headland of the River Calder. Middle Eva Rothschild: Hot Touch. Courtesy the artist and The Hepworth Wakefield. Photo: Stuart Whipps. Above A minimalist theme is adopted for the ground floor lighting with a Viabizzuno 094 system customised to provide an integrated lighting and ventilation solution.
from block to block, has been calculated so that each light slot should admit and diffuse light in the best possible way, to provide even illumination and complement the arti- ficial lighting system. Louvres allow light to be completely blocked out if necessary. At interview stage, David Chipperfield expressed his concerns about the daylight- ing: “I talked about how there are differ- ent ways of bringing daylight into gallery spaces. For example, you can light the room, and you can use windows to orient. Some lighting is to do with trying to light the space and some is about trying to give visitors a connection to what’s outside, so that you are not just in an artificial space. “Here I suggested that we didn’t try to light the rooms with daylight, because for such a big museum that’s quite complex. In order to control daylight from above you have to have a lot of mechanisms to filter it out. The Hepworth Wakefield is a museum. It’s
a permanent collection. So I said that I was interested in bringing light in higher up in the room, where it could not do any dam- age, so you wouldn’t have to filter it that much, but it would give the visitor a sense of what’s going on in the sky outside. That, combined with windows, might be a strat- egy for bringing daylight into the building.” Arup provided natural and architectural lighting design advice to ensure that the gallery’s 44 Barbara Hepworth sculptures and other exhibits are beautifully lit. Florence Lam, Arup Lighting’s Global Lead- er, headed the project: “The lighting was designed with two goals – to conserve the gallery’s temporary exhibitions and to pres- ent Barbara Hepworth’s dramatic sculptures in the best possible way. One of the aims of the project was to bring the outdoors in - each of the display galleries uses natural light to compliment the sculptures, enter- ing through discrete skylights and vertical
windows. This creates a deliberately varied context, allowing a variety of art forms, in different media, to be co-displayed within one room. The play of light in the galleries also greatly enhances the visitor experi- ence.” To deliver this, Arup’s lighting team de- veloped a ‘light mapping’ tool, to assess the impact of annual light exposure across each display space. This was achieved by working with the curators, to identify the optimum locations in each gallery for art to be displayed. The mapping tool was vital in ensuring all of the exhibits displayed are protected from direct sunlight. Sunlight directly entering art spaces can cause extremely high illuminance levels and on certain types of artwork these high levels are damaging. Areas of sun also result in extremely high contrasts and can result in visual discomfort. The skylights in the roof are designed and configured to allow
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