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Art Light desain artificial lighting dalam interior galeri seni : objek studi NuArt Sculpture Park
LIGHTING TEMPLES OF ART
Should a museum, for conservation's sake, be filled with
replicas and the basement with the priceless originals?
Fantasy?
Not really. At the prehistoric site of Lascaux in southern France,
the public is allowed to view alighted replica of a cavern covered
with polychrome murals. The originals, painted under the light of
torches, will be safe for all time in the total darkness that has
protected them far so many years. Fortunately, most work of art
are not this sensitive to light, and the people.
Nevertheless, the lighting of a museum currently starts with
the limitation of precisely that what is needed to see art
light. And especially artificial light. A strange difference in
evolution is currently being made between daylight and artificial
light. Luxmeters are quickly pulled out to measure if the latter
is not trespassing beyond its assigned maximum of a mere 200 lux,
but a second later, dazzling sunlight of a thousand lux or more is
allowed to flood across the same paintings without comment.
And isn't it curious that nobody (so far as we know) , not
even among lighting designers, ever proposed that a work of art
would benefit from being lighted with a light colour close to that
under which it was created. True, this wasn't actually possible
until of late. But now it is, with fluorescents. What is clear,
however, is that too much weight is given to colour rendering
indexes. Of course, the rendering of a source must be as good as
possible, but the fact that it has a high Ra does not mean that it
is suitable for everything. Take tungsten halogen, with its Ra of
100. many outdoor scenes, certainly among Moderns, have been
created under a colour temperature far higher than 3000 K, and
their colours are [hus shifted to red when lighted by halogen.
A little less than perfect colour rendering, as when using, say,
fluorescents, will be invisible to most, but will be richly
rervarded by the enhancement of any cool, dominant tones. And
anyway, what colours are we talking about? Certainly not the ones
used by the artist. Art has suffered centuries of physical abuse.
Think of the uproar in Rome, a few weeks back, when the
restoration of Michael Angelo's Sistine Chapel revealed much
lighter and more vivid colours than anybody had ever imagined.
Some even held the restorers responsible.
JF Caminada
(Philips Lighting, International Lighting Review: Museum)
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