For the audience, the biggest value of the display cabinet is to meet the exhibition needs of appreciating the whole exhibits and tasting the details on a very close distance scale.
For the audience, the biggest value of the lighting in the exhibition cabinet is to restore the physical characteristics of the exhibits, strengthen the artistic characteristics of the exhibits, and meet the aesthetic needs of visual experience in a very small spatial scale.
1. Three principles of cabinet lighting
There are three criteria for the restoration of display cabinet lighting. First, it is necessary to objectively, completely and accurately show the shape, outline and structure of the exhibits (the first criterion); Then texture, color and pattern (the second criterion); Finally, there are painters, strokes and skills (the third criterion).
The three principles follow the law of cognitive things from the whole to the part and then to the details. If the first principle is not reached, the second and third principles cannot be reached.
Figure 1
The red circle in the figure shows the common phenomenon that the "first rule" is not achieved in the exhibition cabinet of the museum at present. It not only destroys the shape, outline and structure of the exhibits, making them lose the value of viewing, but also conveys the wrong visual impression and reduces the interest of the exhibition experience. At the same time, it also fully reflects the lack of subject performance, so it is unable to provide an effective interface to express parts and details.
To achieve the goal of "the first criterion", we must choose the main light direction of lighting according to the shape characteristics of the exhibits, which is the first important decision of lighting design in the exhibition cabinet.
In order to completely represent a three-dimensional exhibit, it is necessary to set the lamp positions of top light, side light and bottom light in the exhibition cabinet, especially when the exhibit is uncertain or the exhibit is replaced regularly, there can be no loss in either direction.
Figure 2
In actual venues, due to the concise and beautiful requirements of the appearance and internal space of the Exhibition cabinets, and the lighting team cannot provide an effective solution, it is usually not used to set side lights. (see Figure 3)
Figure 3
The core of the museum is the exhibits. Most museums require that the effects of the exhibits be given priority rather than the effects of the display cabinets. At present, the industry only pays attention to technical parameters such as "color temperature, illumination and color rendering", but pays little attention to visual design and management such as "light and shadow shaping, visual field and picture, light and color psychology", so there is a situation that the first criterion is generally not reached; During the visit, the construction personnel found that many venues do not use side light lighting, which is considered a standard, so it is also used as a standard in the construction of the new pavilion. "Wrong direction" and "wrong standard" are the fundamental reasons for the current lighting dilemma in the exhibition cabinet, resulting in the following visual impression of the exhibits seen by the audience in the exhibition. (see Figure 4)
Figure 4
What is the significance of making the exhibition environment and equipment excellent if the exhibition effect of a museum is not achieved? The purpose of visitors to the museum is to see the exhibits, not decoration.
For how to accurately express the formal beauty and internal beauty of an exhibit and present it to the audience, choosing the direction of the main light is a crucial success or failure factor.
2. Two application principles and analysis of light
Before choosing the direction of the main light, we must understand and accept the two most basic application principles of light, which are scientific and objective, and will not be changed by human will, so there will be no flattering psychology and imagination in the choice.
First application principle: light follows the principle of straight-line propagation in the air. When there are objects blocking the propagation path, the lower surface cannot be illuminated and the upper structure shadow appears (see Figure 5).
Second application principle: light follows the principle that the incident angle is equal to the reflection angle, and the surface parallel to the light cannot be illuminated without reflection (see Figure 5).
Figure 5
Follow the above two principles, reduce the shadow on the surface of the exhibits, and fully represent the main surface of the exhibits at the same time. Corresponding to the shape characteristics of the two exhibits in the figure, the accurate main light direction should choose the surface light or side light. (see Figure 6)
Figure 7
Figure 8
In Figure 7, the surface of the bottle body is dim, and the illumination of this surface is less than 10lux. Only the shoulder of the bottle meets the national standard of 300lux, and the contrast between the two reaches 1:30, which is far beyond the comfort ratio of 1:3 or 1:5 of the normal value.
In Figure 8, the surface of the bottle body is bright, and the illumination of this surface is > 100lux. Because the side light control light is good, the bottle shoulder is not affected by superposition, but it is still maintained at 300lux, and the contrast between the two reaches a comfortable ratio of 1:3.
In addition to the side light of the independent cabinet to improve the display effect and data of the exhibits, the same improvement can be achieved by increasing the light in the direction of the surface light in the longer wall cabinet. See the comparison between (Figure 9) and (Figure 10).
Figure 9
Figure 10
It can be seen that (Figure 10) is significantly higher than (Figure 9) in terms of the expressiveness of the lighting effect, the aesthetic feeling of the visual picture, the lighting data value and the contrast ratio of the exhibits.
After achieving the goal of "the first criterion" by selecting the accurate main light direction, choosing the lighting form in this direction is the second important decision of the lighting design in the display cabinet. Accurate direction and wrong form will still produce wrong lighting results.
The common lighting forms of museum display cabinets, usually the top light and bottom light form adopts the surface lighting form, and the top light and side light adopt the multi-point lighting form. (see Figure 11)
Figure 11
First, objectively analyze the advantages and disadvantages of the surface luminescence form. (see Figure 12)
Figure 12
(the above is the pseudo color value of brightness)
The brightness of the light-emitting surface of the lamp is more than 500cd/m2, while the brightness of the bottle shoulder is less than 40, the brightness of the bottle body is less than 5, and the contrast between the maximum value and the maximum value reaches 100:1, resulting in the stimulating effect of too strong contrast in the field of vision. According to the principle of human eye light, the bright surface of the lamp attracts the attention of the audience and interferes with the attention of the visitors, which is obviously more harmful than beneficial. (see Figure 13)
Figure 13
Secondly, objectively analyze the advantages and disadvantages of multi-point lighting. (see Figure 14)
Figure 14
The overlapping lighting of multi-point side lights seriously reduces the texture of the exhibits, and makes the porcelain glaze as warm as jade lose all: the reflected high light of the light shadow of the multi-point light destroys the elegant shape of the exhibits; Each lamp produces a projection, and the chaotic superposition of multiple projections makes the whole visual picture produce a dizzy feeling of out of focus.
To solve the above-mentioned lighting forms, the countermeasure is to adopt the form of secondary diffuse reflection instead of surface light-emitting lamps and multi-point lighting lamps. Through the dark light process of the diffuse reflection surface, the phenomena of over bright light-emitting surface, multi-point highlights, multiple projections and so on are avoided, which not only realizes the good lighting effect of the exhibits, but also provides a good viewing environment for the audience. (see figures 15 and 16)
Figure 15
Figure 16
Achieving lighting restoration in the exhibition is only the most basic functional goal. By strengthening the artistic characteristics of the exhibits, creating lighting effects that meet the aesthetic needs of visual experience is the higher value and purpose.
The principle of strengthening is to let the audience feel why this exhibit is important and what relationship it has with me through subjective, directional and guiding light and shadow shaping. It is easier to feel it directly through visual effects, so as to understand and understand the exhibits. This requires lighting practitioners to have higher knowledge of exhibits, history, humanities, visual psychology, art appreciation, aesthetic cultivation and so on in addition to mastering lighting majors, At the same time, it also has to have high artistic expression, so choosing a cooperative teammate with real professional ability can get twice the result with half the effort.
Professional lighting is the visual management and guidance of the audience's understanding and emotions through the design art of light composition, light shadow and bottom relationship (see figure 17/18/19). It provides a richer and diverse immersive light and shadow experience for the audience, truly makes the exhibits "live" and no longer rigid, creates more traffic for the exhibition, attracts the audience to stop in front of the exhibits for a longer time, and finally makes the museum a trusted professional place, a cultural place worth appreciating, an educational place worth learning, and a leisure place worth wandering, This is the breaking strategy to realize "people-oriented" lighting inside and outside the cabinet of the museum.
Figure 17
Figure 18
Figure 19
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For the audience, the biggest value of the lighting in the exhibition cabinet is to restore the physical characteristics of the exhibits, strengthen the artistic characteristics of the exhibits, and meet the aesthetic needs of visual experience in a very small spatial scale.
1. Three principles of cabinet lighting
There are three criteria for the restoration of display cabinet lighting. First, it is necessary to objectively, completely and accurately show the shape, outline and structure of the exhibits (the first criterion); Then texture, color and pattern (the second criterion); Finally, there are painters, strokes and skills (the third criterion).
The three principles follow the law of cognitive things from the whole to the part and then to the details. If the first principle is not reached, the second and third principles cannot be reached.
Figure 1
The red circle in the figure shows the common phenomenon that the "first rule" is not achieved in the exhibition cabinet of the museum at present. It not only destroys the shape, outline and structure of the exhibits, making them lose the value of viewing, but also conveys the wrong visual impression and reduces the interest of the exhibition experience. At the same time, it also fully reflects the lack of subject performance, so it is unable to provide an effective interface to express parts and details.
To achieve the goal of "the first criterion", we must choose the main light direction of lighting according to the shape characteristics of the exhibits, which is the first important decision of lighting design in the exhibition cabinet.
In order to completely represent a three-dimensional exhibit, it is necessary to set the lamp positions of top light, side light and bottom light in the exhibition cabinet, especially when the exhibit is uncertain or the exhibit is replaced regularly, there can be no loss in either direction.
Figure 2
In actual venues, due to the concise and beautiful requirements of the appearance and internal space of the Exhibition cabinets, and the lighting team cannot provide an effective solution, it is usually not used to set side lights. (see Figure 3)
Figure 3
The core of the museum is the exhibits. Most museums require that the effects of the exhibits be given priority rather than the effects of the display cabinets. At present, the industry only pays attention to technical parameters such as "color temperature, illumination and color rendering", but pays little attention to visual design and management such as "light and shadow shaping, visual field and picture, light and color psychology", so there is a situation that the first criterion is generally not reached; During the visit, the construction personnel found that many venues do not use side light lighting, which is considered a standard, so it is also used as a standard in the construction of the new pavilion. "Wrong direction" and "wrong standard" are the fundamental reasons for the current lighting dilemma in the exhibition cabinet, resulting in the following visual impression of the exhibits seen by the audience in the exhibition. (see Figure 4)
Figure 4
What is the significance of making the exhibition environment and equipment excellent if the exhibition effect of a museum is not achieved? The purpose of visitors to the museum is to see the exhibits, not decoration.
For how to accurately express the formal beauty and internal beauty of an exhibit and present it to the audience, choosing the direction of the main light is a crucial success or failure factor.
2. Two application principles and analysis of light
Before choosing the direction of the main light, we must understand and accept the two most basic application principles of light, which are scientific and objective, and will not be changed by human will, so there will be no flattering psychology and imagination in the choice.
First application principle: light follows the principle of straight-line propagation in the air. When there are objects blocking the propagation path, the lower surface cannot be illuminated and the upper structure shadow appears (see Figure 5).
Second application principle: light follows the principle that the incident angle is equal to the reflection angle, and the surface parallel to the light cannot be illuminated without reflection (see Figure 5).
Figure 5
Follow the above two principles, reduce the shadow on the surface of the exhibits, and fully represent the main surface of the exhibits at the same time. Corresponding to the shape characteristics of the two exhibits in the figure, the accurate main light direction should choose the surface light or side light. (see Figure 6)
Figure 6
The following is the visual effect and lighting data simulated by software calculation. The lighting results using only the top light in a single direction (Fig. 7) are compared with those using the top light + side light in two directions (Fig. 8).
(the above is the pseudo color value of illuminance. Except for the pseudo color value of brightness (Fig. 12), the full-text pseudo color map adopts the above reference value.)
Figure 8
In Figure 7, the surface of the bottle body is dim, and the illumination of this surface is less than 10lux. Only the shoulder of the bottle meets the national standard of 300lux, and the contrast between the two reaches 1:30, which is far beyond the comfort ratio of 1:3 or 1:5 of the normal value.
In Figure 8, the surface of the bottle body is bright, and the illumination of this surface is > 100lux. Because the side light control light is good, the bottle shoulder is not affected by superposition, but it is still maintained at 300lux, and the contrast between the two reaches a comfortable ratio of 1:3.
In addition to the side light of the independent cabinet to improve the display effect and data of the exhibits, the same improvement can be achieved by increasing the light in the direction of the surface light in the longer wall cabinet. See the comparison between (Figure 9) and (Figure 10).
Figure 9
Figure 10
It can be seen that (Figure 10) is significantly higher than (Figure 9) in terms of the expressiveness of the lighting effect, the aesthetic feeling of the visual picture, the lighting data value and the contrast ratio of the exhibits.
After achieving the goal of "the first criterion" by selecting the accurate main light direction, choosing the lighting form in this direction is the second important decision of the lighting design in the display cabinet. Accurate direction and wrong form will still produce wrong lighting results.
The common lighting forms of museum display cabinets, usually the top light and bottom light form adopts the surface lighting form, and the top light and side light adopt the multi-point lighting form. (see Figure 11)
Figure 11
First, objectively analyze the advantages and disadvantages of the surface luminescence form. (see Figure 12)
Figure 12
(the above is the pseudo color value of brightness)
The brightness of the light-emitting surface of the lamp is more than 500cd/m2, while the brightness of the bottle shoulder is less than 40, the brightness of the bottle body is less than 5, and the contrast between the maximum value and the maximum value reaches 100:1, resulting in the stimulating effect of too strong contrast in the field of vision. According to the principle of human eye light, the bright surface of the lamp attracts the attention of the audience and interferes with the attention of the visitors, which is obviously more harmful than beneficial. (see Figure 13)
Figure 13
Secondly, objectively analyze the advantages and disadvantages of multi-point lighting. (see Figure 14)
Figure 14
The overlapping lighting of multi-point side lights seriously reduces the texture of the exhibits, and makes the porcelain glaze as warm as jade lose all: the reflected high light of the light shadow of the multi-point light destroys the elegant shape of the exhibits; Each lamp produces a projection, and the chaotic superposition of multiple projections makes the whole visual picture produce a dizzy feeling of out of focus.
To solve the above-mentioned lighting forms, the countermeasure is to adopt the form of secondary diffuse reflection instead of surface light-emitting lamps and multi-point lighting lamps. Through the dark light process of the diffuse reflection surface, the phenomena of over bright light-emitting surface, multi-point highlights, multiple projections and so on are avoided, which not only realizes the good lighting effect of the exhibits, but also provides a good viewing environment for the audience. (see figures 15 and 16)
Figure 15
Figure 16
Achieving lighting restoration in the exhibition is only the most basic functional goal. By strengthening the artistic characteristics of the exhibits, creating lighting effects that meet the aesthetic needs of visual experience is the higher value and purpose.
The principle of strengthening is to let the audience feel why this exhibit is important and what relationship it has with me through subjective, directional and guiding light and shadow shaping. It is easier to feel it directly through visual effects, so as to understand and understand the exhibits. This requires lighting practitioners to have higher knowledge of exhibits, history, humanities, visual psychology, art appreciation, aesthetic cultivation and so on in addition to mastering lighting majors, At the same time, it also has to have high artistic expression, so choosing a cooperative teammate with real professional ability can get twice the result with half the effort.
Professional lighting is the visual management and guidance of the audience's understanding and emotions through the design art of light composition, light shadow and bottom relationship (see figure 17/18/19). It provides a richer and diverse immersive light and shadow experience for the audience, truly makes the exhibits "live" and no longer rigid, creates more traffic for the exhibition, attracts the audience to stop in front of the exhibits for a longer time, and finally makes the museum a trusted professional place, a cultural place worth appreciating, an educational place worth learning, and a leisure place worth wandering, This is the breaking strategy to realize "people-oriented" lighting inside and outside the cabinet of the museum.
Figure 17
Figure 18
Figure 19
The information comes from the network. If there is infringement, you can contact to delete it
