058


PROJECT / RIJKSMUSEUM, AMSTERDAM , THE NETHERLANDS


applauded like a real ovation when those sixteen small LED lights turned on. The next morning, every newspaper in The Netherlands reported about the beauty of the new lighting, and the fact that is was all done with LED. It felt very good, of course, and I knew that we were heading in the right direction. I also realised there was still an awful lot of work to do.


... Because one painting is not a whole museum! Indeed. The Rijksmuseum as it is now has got nearly 4,000 LED fittings that light the artifacts. And there is the indirect lighting in the ‘light racks’. We were facing challenges in the field of controls, and glare was still too much. The integration of the fitting with the ‘light rack’ was not yet designed, and gallery layouts had changed so we had to draw new lighting plans. Moreover, Wilmotte & Associés had some great proposals for the design of the ‘light racks’, that have become much larger that the original proposal by Arup where they were simply made of 3-phase track with a high flange. My team continued the design work, both with the help of computers and 3D software as well as exploring what the solutions could be. I will never forget how Brad Koerner demonstrated a small metal ring inside the fitting’s reflector, effectively taking away all unwanted spillight. It’s now in all 4000 spotlights, and we call it the ‘bradguard’.


It seems it was quite a comprehensive assignment all together... Well, we had a team focusing on the product design and the integration of the fitting with the ‘light racks’ as they were designed by Wilmotte & Associés, and at the same time we had a team working on the lighting design. I contracted Beersnielsen for that. Juliette Nielsen was one of my students back in the ‘90s. She began her career as a lighting designer at my firm Hollands Licht, and started her


JAPANESE


がたアムステルム国 では、


ートナーであり、 内との照明とし


てフィプスLED照明がされていま す。


のをに、 ームスは、


フィプスはプロジェクトの要 者の賞しさと 照明デザインにい


てとなせをまし た。


インフィーにそのにするを えました。 フィプスに、


らが照明デザインチームに加り、


Mondoarcディーであるール・ジェ フィプスの照明事チーフデザ


Arpeersneilsen Cr 


rtiilmotte  Associésといた とをりました。


ーシンとしてしたかで、


LEDを照明 


own practice together with Sjoerd van Beers. They are fantastic. We still work together: on the Rijksmusuem, but also on projects in Russia and on studies we do together for outdoor lighting in Amsterdam. Beersnielsen is one of those rare practices that are seemingly unpretentious yet at the same time consistently deliver superb work. It was a logical choice for me to engage Juliette again in this project.


Tell me more about the last project stage. You can imagine how excited I was when it all started to come together. I remember how Tim Zeedijk and myself walked through the gallery spaces, with no artworks yet in there, but with many boxes filled with paintings. It was September 2012, and the ‘light racks’ were being installed. The work then progressed rapidly. We had developed five lenses with nano-optics, to be used with the standardised LED gallery fitting; it meant that the same fitting could be installed everywhere, just like how I envisioned it in the letter to Wim Pijbes. The ceiling heights range from three metres in the medieval galleries to eleven metres or so in the Night Watch gallery, so you can imagine how these lenses perform! It enabled the Beersnielsen team to work efficiently: they could exchange a light weight, plastic lens and change each beam angle that way, instead of replacing a whole fixture.


As every fitting can be dimmed individually, the control system was very important. The system architecture allows control of the lighting wirelessly with an iPad. This is particularly important because you can stand on the floor and see the dim levels from the viewpoint of the visitor. Everything we do is about how the visitor experiences the galleries.


And then, the opening... Well, not quite. The lighting was not ready once the general exbition lighting


のにとてとされるの のにするジアルとコントラ ストがまれ、 す。


900ートル、 は、


して最大ののです。 は、


かに、 アトドアア、 シプ、


賞者のをしませていま 00をえる


LEDで照らされたラーと フィプスのLED照明 アトム、


な、 をライトアプしています。 CHINESE


在一的特国，照 明 LED照明。为建筑领域的领 先合一，国 合照明设计，者 的为。MondoarcPal ames照明席设计他的


ストラン、 内の


。


其他照明设计合，包括Arp eersneilsen，建筑公司Cr  rti ilmotte  Associés合。LED照明 出自光的 ，最式， 者。照明00多 00，国成为有 来LED照明最大的。外， LED还为公域提 照明，包括中外 域建筑。


FRANÇAIS


L’illumination du rénové Rijksmuseum à Amsterdam et entier son exposition d’art est avec Philips LED éclairage. En tant que l’un des principaux associés en la rénovation, Philips a été travaillé étroitement


avec le Rijksmuseum sur la conception d’éclairage avec un fort accent sur l’experiénce du visiteur et la conservation de les art des oeuvres. L’ éditeur de mondo*arc Paul James parle à le Chef Officier de Philips conception d’éclairage pour son travail d’amour. Autres conception d’éclairage associés comprennent Arup et beersneilsen qui ont travaillé avec les archi- tectes Cruz & Ortiz et Wilmotte & Associés. La LED solution d’éclairage crée des effets et contrastes vi- suels qu’étroitement imité les couleurs interprétation de la lumière naturelle, présentant l’art d’œuvre de la meilleure façon et améliorant l’expérience du visi- teur. Avec plus de 9,500 mètres carrés et 7,500 art d’œuvres, allumé, il est le plus grand espace galerie toujours allumé par LED. En outre, le Philips LED s allument les espaces publics du musée y compris la boutique, les atriums, le restaurant ainsi que la zone extérieure et la façade du bâtiment.


Top The grand hall has newly designed chandeliers by Wilmotte. Above The outdoor lighting of the Rijksmuseum is still being completed.


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