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047 Photograph: Andrew Lee


The Ramsay Room, the centrepiece of the National Portrait Gallery, features a huge skylight that fills the centre of the room with daylight. Frosting at its perimeter creates diffuse light for the paintings on the room’s walls.


weren’t good enough. GF: Even two years ago we knew we could, for the most part, get enough light from LED but we were concerned about the quality of light. It’s only in the last year that we’ve been able to get exact colour renderings on the paintings. That was very difficult to establish. We had lots of manu- facturers pitching themselves with different colour temperatures that were a lot cooler than we wanted – 3200K to 3500K. Every- thing is 3000K here. Roger Sexton (RS): It’s not the actual colour temperature, it’s about having a more natural light. I disagree with the argument that LED lighting is different to halogen and that you see the paintings in a new light. You should see the paintings as the artist intended and that has been achieved here.


beherbergt die nationale Porträtsammlung von Schottland und empfing kürzlich auch die nationale Fotosammlung. Die kürzlich vorgenommene Renovier- ung des Gebäudes durch die Architekten Page \ Park restaurierte das Gebäude so, wie es der ursprüngliche Architekt Sir Robert Rowand Anderson 1889 geplant hatte. Dafür wurden Zwischenwände entfernt und Decken tiefer gesetzt, Fenster geöffnet und versteckte viktorianische Details enthüllt. Die Beleuchtung der Galerieräume, die durch das in Edinburgh ansäs- sige Unternehmen FOTO-MA konzipiert wurde, ist die erste komplett LED-basierte Lösung Großbritanniens, die Mike Stoane Lighting Track Type X Armaturen mit Xicato XSM 3000k 2000lm Modulen verwendet. Für zweigeschossige Räume wurden größere Arma- turen mit höherer Ausgabeleistung und ein größerer Reflektor namens Fatty entworfen. Die Technologie entwickelte sich in der Zeit, die es dauerte, bis dass die Arbeit von der Angebotsphase aus durchgeführt


DEUTSCH


GF: We’ve had low voltage fittings sitting next to the LED ones and you can’t tell the difference unless you’re measuring data. PJ: Were there any concerns from the con- servators about the use of new technology and perhaps not knowing enough about the effects? JR: There were concerns with excessive loading at the blue end of the spectrum but, looking at the data, this system seems to give us the best of both worlds. I’ve been part of the green discussions for the galleries so I was very keen to save energy. But that couldn’t be at the price of viewing or caring for the artwork. The timing of the technology advances meant we were able to have our cake and eat it! RS: There are three things to consider. Firstly, the visual aspect – how the viewer


wurde, weiter und so war die komplette LED-Lösung möglich geworden. Lux Levels liegen zwischen 35 Lux im Fotoraum und 300 Lux in den unterschiedlichen Galeriebereichen.


ITALIANO


La Scottish National Portrait Gallery (Galleria Nazio- nale Scozzese del Ritratto) di Edinburgh rappresenta la Patria nazionale scozzese per la collezione di ritratti ed attualmente ospista anche la Collezione nazionale della Fotografia. La recente ristrutturazione dell’edificio da parte della Page/ Park, ne ha ripristinato l’aspetto e la funzionalità come l’aveva intesa l’architetto origi- nale nel 1889, Sir Robert Towand Anderson. Questo è stato possibile eliminandole le finte pareti, abbassan- do i soffitti, e rivelando i dettagli vittoriani nascosti. L’illuminazione degli spazi della galleria, progettata dalla FOTO-MA con base ad Edimburgo, è la prima


can make sense of the paintings; secondly, conservation – the damage potential; but also thirdly, the energy savings. JR: There must be a flaw in there some- where! I remember going to a conference in Denmark four years ago when they an- nounced that the Danish National Museum was using LED. I visited the museum and thought: “This isn’t for us, it looks like LED.” Whereas I don’t think you notice the difference here. And the bonus for us is because we can keep the light levels even lower than the classic 50 lux we can keep exhibits out longer, particularly the photog- raphy range that is the most light sensitive. PJ: Did you have to change the low voltage fittings for new exhibitions in case they failed? James Holloway (JH): Yes we did. The Main Hall was always a bit of a muddle. There were a variety of lighting systems in place and I remember moving things around myself from time to time. It’s wonderful to have cleared all that up. The other thing we’ve managed to do is to maximise the daylighting, not only from above but from the side too. That’s nice for the public because they can look out of the window and see the sort of scenes depicted in the artworks. PJ: So you find that the LEDs combine seam- lessly with the daylighting? JH: Yes it does. The daylight gives an animation to the picture. I remember years ago going to the National Gallery in London as a student and seeing the great Dutch landscapes and seeing the daylight animate them and I suddenly realised that’s what


soluzione interamente basata sul LED del Regno Uni- to, utilizzando la Lighting Track Tipo X di Mike Stoane con i moduli Xicato XSM 3000K 2000lm. Per gli spazi a doppia altezza, è stato progettato un raccordo più ampio con una maggiore produzione, ed un riflettore più grande chiamato Fatty. La tecnonologia avanzata nel tempo impiegato per il lavoro a partire dalla fase di gara, ha fatto si che tutte le soluzioni LED fossero possibili. I livelli LUX (l’illuminazione per interni) vari- ano dai 35 Lux nella Stanze adibite alla Fotografia, ai 300 Lux nelle diverse aree della galleria.


ESPAÑOL


La Scottish National Portrait Gallery en Edinburgo alberga la colección nacional de retratos de Escocia y actualmente también aloja la Colección Nacional de Fotografía. La reciente renovación del edificio por parte de los arquitectos Page \ Park constó de la res-


tauración del edificio tal como el arquitecto original en 1889, Sir Robert Rowand Anderson, quería que se viera y funcionara. Se llevó a cabo mediante la remo- ción de falsas paredes y cielos rasos bajados, abriendo ventanas y revelando detalles Victorianos ocultos. La iluminación de los espacios de la galería, diseñados por FOTO-MA, con base en Edinburgo, es la primera solución enteramente a base de LED del Reino Unido utilizando instalaciones de Mike Stoane Lighting Track Type X con módulos Xicato XSM 3000k 2000lm. Para los espacios de doble altura, se diseñó una instalación más grande con una mayor salida y un reflector tam- bién más grande llamado Fatty. Los avances de la tecnología en el tiempo hicieron que el trabajo comen- zara a partir de un escenario sensible y significó que la solución completa en LED fuera posible. Los niveles de lux van de 35 lux en la Sala de Fotografía a 300 lux en las diferentes zonas de la galería.


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