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MUSEUM LIGHTING / BARBARA BALESTRERI LIGHTING DESIGN
SNAPSHOT
A selection of museum projects from Barbara Balestreri Lighting Design.
MUSEO DEL NOVECENTO Among the permanent exhibits in Milan’s new Museo del Novacento is this 180 sq m ceiling by artist and sculptor Lucio Fontana. Originally created in 1956 for the Hotel Gulf of Procchio on the isle of Elba, the piece was re-installed on the top floor of the mu- seum’s Arengario tower. Barbara Balestreri Lighting Design was brought in to illuminate the piece, using single LED fixtures placed in the holes where Fontana had previously used incandescent light sources. To re-create the lighting effect intended by Fontana, Balestreri and her team undertook extensive tests to find the best LED light sources with the right colour temperature, as well as an appropriate glass fixture with which to enclose and diffuse the light source. After consultation with the muse- um’s restorer, Dr Barbara Ferriani, the team selected 2700K Osram DRAGONpuck LEDs. The high level of luminance means the light is visible during the daytime when natural light fills the space, yet also complies with all necessary conservation restrictions.
THE AL-SABAH COLLECTION, MILAN When the al-Sabah Collection of Kuwaiti arts visited Milan’s Palazzo Reale, Balesteri’s team were tasked with creating a scheme that would by sympathetic to the wide range of ceramic, glass, textile, wood and metal artifacts on display. The practice worked with the organisers Skira Editor, curators Giovanni Curatola and Sue Kaoukji, and with the exhibition designer, architect Corrado Anselmi, to find a solution that would be suitable for objects of such varying ages (some of them from as far back as the fifteenth century), materials and sizes. The lighting design was integrated completely with the design of the exhibition, with dedi- cated lighting selected for each artwork on show. Their solution comprised a range of lighting technologies: sources with warm colour temperatures and high CRI that were non-UV, anti-IR and were intensity adjustable. LED and traditional light sources were mixed to get the best results. Warm halogen light gave a precise light to the different showcases and set designs while the LED light, also warm but more widespread and homogeneous, were placed inside some display cases. This enabled the team to develop individual schemes for the objects and so keep luminance values below the maximum permitted for that specific piece. The final scheme not only highlighted the works to make them emerge from the context in which they appear, but emphasise the complexity and rich history of Islamic civilization.
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