Famous lighting designer Zhang Wei (Aladdin lighting network information picture)
Zhang Wei, a person who loves challenges, chose the museum lighting design because of the psychology of wanting to challenge, and tirelessly walked on this road today. What is his opinion on this field in the field of museum lighting design for many years? What are the opinions?
Choosing museum lighting stems from the challenge of choosing
There are two main research directions in my field, one is museum lighting and the other is garden lighting. Museum lighting is the main learning direction during my PhD. Many people may not know much about museum lighting. On the surface, museum lighting may not be as individual and unassuming as hotel lighting, club lighting, etc. Therefore, some people may wonder why I chose museum lighting as my main research direction. In fact, museums and art galleries have higher requirements for lighting. It is important for museum lighting design to showcase the exhibits best through lighting. The museum has its own particularity, the exhibits are more precious, and some may be national treasures. Therefore, the light environment of the museum is more demanding than other types of light environments. The light emitted by the luminaire is divided into ultraviolet light, visible light, and infrared light. These three parts can generate heat, which may have certain adverse effects on the exhibits. Therefore, museum lighting in optics is the most difficult in lighting design.
Before I was a Ph.D., I wanted to challenge the most difficult research direction in the future. Therefore, when I chose the direction of the school, I took the museum lighting as my main subject, and I also studied other lighting design forms such as garden landscape.
Museum light environment special
The characteristics of the museum's light environment can be divided into operational and conceptual aspects.
From the operational level, first of all, the museum's light environment is ultimately to express art, not to represent the individual's likes and dislikes, but to express the art itself; secondly, the designer must have a certain understanding of cultural relics and history, knowing that cultural relics are produced. Background, features, etc. Every piece of art is different. Museums and art galleries are the holy places for designer art creation. In foreign countries, the museums and art galleries are very high-end buildings. The same is true for lighting. They pay great attention to the use of the light environment. The Louvre in Paris is the best proof. Therefore, museum lighting design is very difficult.
From the conceptual level of the museum's light environment, there are three levels, namely visitors, light, and carrier. One: Visitors. For the museum, the visitor's visit needs are very important. The light is irradiated to the carrier in order to let the visitors better understand the meaning of the carrier. The audience is the visitors, so the lighting designer should have a visitor audience for all kinds of exhibits. The crowd has a clear understanding of their visit needs; two: light. There are eight elements to measure whether the lighting effect of the exhibits in the carrier museum is good. For example, the brightness relationship between the exhibit and the background is not good than the background, and the background is not good, and there is a proper value in the middle. Sometimes, lighting designers even have to participate in the selection of background materials, participate in the comparison of light colors, etc.; if there is glare, for example, museums and art galleries are places where visual effects are very important. If glare exists, it will definitely Affect the exhibiting effect of the carrier. Three: carrier. The storage of exhibits in museums and art galleries is crucial. There are many museums that limit the number of photos taken. This is a problem with the exposure of a photo, and ultimately an optical problem. Due to the age of cultural relics, the storage environment is relatively strict. If the exposure is too much, it will affect the storage of cultural relics. Some domestic and foreign museums have also experienced such problems and caused damage to the exhibits. It is precisely because of these problems that we are paying more and more attention to the control of the museum's light environment. It has been mentioned above that the light emitted by the luminaire is divided into infrared, ultraviolet, and visible light. People often think that visible light will generate heat. In fact, both ultraviolet and infrared rays generate a certain amount of heat. Therefore, lighting designers should consider the heat dissipation of the exhibition facilities when lighting the museum. In addition, the accumulation of heat from the luminaire may cause a fire, which is one of the hidden dangers. For places like museums, the furnishings are invaluable, and fire hazards are not allowed. Designers should also deal with this problem when designing the light environment.
For the museum lighting environment, the country does not currently have a stricter norm. However, there are two related regulations to be introduced, one is the Ministry of Construction's "Museum Lighting Specification", and the other is the lighting part of the Ministry of Culture's "Art Gallery Building Code". I participated in the development of the lighting part of the latter. The introduction of these two specifications will make the lighting design of museums and art galleries more standardized.
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