Light for Museums and Art - Concepts Applications Technology

Light for Museums and Art - Concepts Applications Technology

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Description: The Light Factory- ERCO specialises in ­architectural lighting. First and foremost, we see ourselves as selling light, not ­luminaires. This approach has been the trademark of our work for many years.

That’s why we call ourselves: ERCO, the Light Factory. ERCO's indoor luminaires, out­- door luminaires and lighting con- trol systems constitute an exten- sive range of lighting equipment for general, comprehensive, archi- tectural lighting solutions. Development and client support at ERCO are guided by our vision of 100% LED and all our efforts are geared to producing innovative optoelectronic LED systems when creating, directing and controlling light.

Innovation is the key to achieving efficient visual comfort and scenographic excellence at an ever higher level. ERCO lighting tools encourage a transformation of technology into culture. This approach results in lighting tools for the user that satisfy all the technical and economical requirements of lighting practice, while at the same time opening up the whole fascination and magic of that “immaterial material” known as light.

Communicating and preserving- The diversity of the international museum landscape is enormous – museums cover a huge variety of topics ranging from archaeol­ogy all the way to contemporary art and from literature through to modern ­technology. Some account for just a few square metres, while others fill entire urban districts. Regard­less of this, however, they all have a common denominator – each sees i ...Please navigate Paper pages for more details.

 
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Contents:
tune the light

E

Light for museums

E

Art. No. 10.29416.000 EN 12/2012

Concepts
Applications
Technology

Light for museums
Contents
The Light Factory
ERCO specialises in ­ rchitectural
a
lighting. First and foremost, we
see ourselves as selling light, not
l
­uminaires. This approach has
been the trademark of our work
for many years. That’s why we call
ourselves: ERCO, the Light Factory.
ERCO's indoor luminaires, out­
door luminaires and lighting control systems constitute an extensive range of lighting equipment
for general, comprehensive, architectural lighting solutions. Development and client support at
ERCO are guided by our vision of
100% LED and all our efforts are
geared to producing innovative
optoelectronic LED systems when
creating, directing and controlling light. Innovation is the key to
achieving efficient visual comfort
and scenographic excellence at an
ever higher level. ERCO lighting
tools encourage a transformation
of technology into culture. This
approach results in lighting tools
for the user that satisfy all the
technical and economical requirements of lighting practice, while
at the same time opening up the
whole fascination and magic of
that “immaterial material” known
as light.

ERCO headquarters
ERCO has its headquarters in Lüdenscheid, an
industrial town steeped
in tradition, right in the
heart of Germany. The
ERCO plant consists of
prize-winning ­industrial
buildings as a living
expression of a corporate
culture defined by innovation, communication
and quality awareness.

Communicating and
preserving
Light makes cultural
values visible

Situations in the
museum
Using light to guide
through the museum

Two-dimensional
exhibits
Accent lighting for a
dramatic effect

Pages 2–3

Pages 4-5

Pages 6-7

Two-dimensional
exhibits
Wallwashing for a
­harmonious impression
of the room
Pages 8-9

Three-dimensional
exhibits
Modelling sculptures with
light and shadow
Pages 10-11

100% LED
The breakthrough of LED
technology is probably
the biggest development
in lighting technology
for decades. ERCO plays
a leading role in implementing these advances
with practical LED lighting tools: Our vision of
100% LED has already
been implemented in our
new product range and
is implemented in an
ever growing number of
ERCO’s projects.

Technology
Optimal use of professional lighting tools
Pages 12-14

Checklist for museum
lighting
The way to an individual
lighting concept

Services and media
Experiencing light, using
services and accessing
information – worldwide.

Page 15

Pages 16-17

  1

Communicating and preserving
Light makes cultural values visible
The diversity of the international museum
landscape is enormous – museums cover a
huge variety of topics ranging from archaeol­
ogy all the way to contemporary art and
from literature through to modern ­ echnology.
t
Some account for just a few square metres,
while others fill entire urban districts. Regard­
less of this, however, they all have a common
denominator – each sees its mission as col­
c
lecting, preserving and exploring their ­ hosen
subject matter as much – maybe more so – as
communicating and presenting their ­ opics.
t
S
­ pecifically, ­nstitutions which preserve and
i
exhibit important cultural assets underline their
status with representative architecture. In these
m
­ useums, whether they boast a long tradition
such as the Louvre in Paris or are as young as
the Guggenheim Museum in Bilbao, architects,
lighting and exhibition designers, and cura­
tors apply strict quality standards right down
to the aspect of lighting. As a result, light in

­ museum quality” has become the benchmark,
even for other types of architecture. Good
museum lighting meets the requirements of
the visitors, but also of the curators and oper­
ators – visual comfort, optimum perception
of the exhibits, clear and safe orientation in
e
the building, and a high quality ­ xperience,
but also conservation of the exhibits as well as
e
­ conomic efficiency and sustainability. Light­
ing concepts which meet these criteria con­
tribute to preserving the cultural heritage of
humanity for future generations.

Koninklijk Museum voor
Natuurwetenschappen
N
(Museum of ­ atural
H
­ istory), Brussels. Archi­
tecture and ­ighting
l
design: SumProject,
B
­ russels. ­ allery of Evo­
G
lution – scenography:
A
­ telier de l'Ile, Paris.
Exhibition lighting: Cosil,
Paris.

Hermitage, St. Petersburg.
Lighting and exhibition
design: Alexander Lapko,
St. Petersburg.

Nagasaki Prefectural Art
Museum, Nagasaki. Architect:
Nihon Sekkei Inc., Kengo
Kuma & Associates, Tokyo.
Lighting design: Takeshi
Konishi (EPK Corp.), Tokyo.

Museo dell’Ara Pacis,
Rome. Architect: Richard
M
­ eier, New York. Lighting
design: Fisher Marantz
Stone, New York.

Museum Punta della
Dogana, Venice.
Architect: Tadao Ando,
Tokyo. Lighting design:
Ferrara Palladino e Asso­
ciati, Pietro Palladino
­
(engineer), Cinzia Ferrara
(architect), Milan.

GoMA Gallery of Modern
Art, Brisbane. Architect:
Architectus, Sydney.
Lighting design: Vision
Design Studio, Australia.

National Portrait Gallery,
London. Architect: Ewan
Christian (1814-1895).

2  

National Museum, “The
Art of Enlightenment”
exhibition, Beijing.
Architect: Von Gerkan,
Marg und Partner (GMP),
Hamburg.
ERCO Museum  3

Situations in the museum
Using light to guide through the museum

Accentuating sculptures in the outdoor
area
Powerful lighting technology and durable,
tough product design
creates an effective presentation of sculptures
in the outdoor area. This
allows the ­ useum to
m
extend its exhibition into
the surrounding area
d
­ uring the hours of darkness.
Effectively illuminating
paintings
Light does not only make
art visible – it also allows
art to shine out, for
example, by using ­ arrow
n
light beams to draw
attention to paintings.

Using light to model
sculptures
The high-contrast change
of light and shadow
emphasises the shapes
of the sculptures and
highlights fine textures.
Accent lighting using
brilliant light creates
effective points of interest on the way through
the exhibition.

Creating light signals
for urban spaces
A holistic lighting concept that also considers
the external effect will
transform museum buildings into nocturnal highlights of their situation.
Glazed buildings that
shine from the inside out
attract attention in and
to their environment.

The professional lighting of artwork is, without a doubt, one of the central ­ hallenges
c
of museum lighting. The light for exhibition
rooms, however, is only one aspect of its function in the museum. Lighting starts with the
building outside, to create striking signals for
urban spaces at night, to emphasise exhibits in the outdoor area, and to guide visitors
into the museum using inviting pathway lighting. Inside, the bookshop and café are part
of the extended programme of the museum,
where attractive lighting for the sales areas
and a pleasant atmosphere are relevant issues
in lighting design. In traffic zones such as foyers, halls or pathways outside, lighting can be
particularly effective in facilitating orientation by using brightness and narrow beams
to point out important elements. In the exhibition rooms, accent lighting is used to create a hierarchy which sets off central items in
the ­ ollection from their spatial context and
c
emphasises their special significance.

Using light to design
welcoming façades
Illuminated façades communicate an open house
to the museum visitor.
­
In conjunction with
i
­lluminated signage, it
reaches a long way out
and creates an inviting
gesture whilst arousing
the interest of visitors.

Artfully guiding the
way to the museum
Clear pathway lighting
­
guides the streams of
visitors and facilitates
­orientation.

4  

Using the foyer to
point the way to the
­exhibition
Foyers help in the visitors’ transition from a
bright outdoors to the
lower brightness of the
exhibition rooms. Uniform illumination in the
foyer creates a spacious
impression and helps to
identify its various functions.

Art to buy
The almost ­ utomatic
a
v
­ isit to the museum
shop at the end of a tour
allows visitors to take
home mementoes of the
exhibition. Differentiated ­salesroom ­lighting
­accentuates books,
objects and souvenirs to
increase their appeal as
an incentive to buy.

Enjoying food in good
light
Good food, a stimulating
atmosphere and a pleasant ambience are factors
contributing to a successful restaurant ­ oncept.
c
Good light on the product selection, ­ isibility
v
of the diners at the table
and suitable lighting
in the room create the
premises for it.

  5

Two-dimensional exhibits
Accent lighting for a dramatic effect
Perfecting the enjoyment of art through
visual comfort
Lighting design is only one aspect to enhance
the quality of the exhibition experience;
another is the level of visual comfort of the
lighting. A correct luminaire arrangement
ensures uniform illumination of the artwork
without shadows being cast on the picture
as the observer stands in front of it. ­ arrow
N
beams of light and a shielded front lens minimise direct glare on the way through the
e
­ xhibition. Appropriately arranged luminaires
also prevent disturbing reflected glare.

Minimising shadows
cast by the observer
Positioning two spotlights
to the side to illuminate the pictures avoids
reflected glare on the
exhibits and prevents the
observer casting shadows
on the picture.

Using accent lighting to create an
a
­ tmosphere rich in contrast
Individual illumination of pictures in museums using narrow beams of light creates a
d
­ ramatic atmosphere. The intense contrast
b
­ etween bright and dark regions assigns the
role of protagonists in the exhibition scenography to these exhibits. The narrow beams
direct the view of the visitors to concentrate
on the artwork. The interior and the architecture play but a secondary role.
Some exhibitions present stark ­ ontrasts
c
of light and dark scenes through the very
c
­ ontent of their pictures. In these cases,
accent lighting adds a special magic to the
scene, as the mood in these pictures harmonises with the atmosphere in the exhibition.
Precise adjustment of the beams of light formats the exhibits and artwork and arouses a
special fascination in that they appear to be
self-­illuminating.
Using different levels of illuminance, the
accent lighting can also create hierarchies of
perception to give structure to the exhibition.

6  

30°

Using light beams to
accentuate pictures in
the room
The narrow-beam accent
lighting on the ­ xhibits
e
directs the attention
of the museum visitor
onto the artwork. Using
exchangeable lenses for
different beam diameters, the lighting can be
adjusted to the individual
size of the pictures.

Correctly positioning
luminaires
When illuminating paintings and sculptures, the
optimum angle of incidence of the light is 30°.
Any larger distance to
the object would create
­
a problem in that the
observer standing in front
of the object would cast
a shadow on it. A steep
angle of incidence, on the
other hand, would lead

to a significant degree of
grazing light with long
shadows on the exhibit.

Avoiding reflected glare
Paintings protected
behind glass can cause
glare if the luminaires
mounted on the ceiling
are reflected in the glass
as the observer stands in
front of them. ­ eflected
R
glare is easy to avoid
through proper arrangement of the luminaires
using narrow beams and
shielded front covers.

Illuminating display
cabinets without glare
Glass cabinets can be
i
­lluminated from the outside if the spotlights are
positioned away from the
reflection surfaces in the
observer’s field of vision.

Restricting the light
beam to the size of the
painting
Paintings appear to be
self-illuminating if the
beam of light is ­ estricted
r
precisely to illuminate
the exhibit. The resulting
c
­ oncentrated and mysterious atmosphere stands
in contrast to the ­ arker
d
room. The beams can
be adjusted to the precise size using framing
attachments on a projector spotlight.

  7

Two-dimensional exhibits
Wallwashing for a harmonious impression of the room
Using wallwashing for a bright and
s
­ pacious impression of the room
Uniform wallwashing provides a neutral backdrop for exhibitions and presents artwork on
the walls in an objective manner. It is ­ uitable
s
particularly where the mood to be induced
for viewing artwork is to be contemplative
rather than dramatic. Uniform illumination
of ­ ertical surfaces gives the impression of a
v
bright and spacious room, with even brightness ­evels creating a harmonious atmosphere
l
in which pictures and wall form an ­ntegrated
i
whole.

Combining wallwashing with accent
lighting
For some exhibitions, using nothing but dramatic accent lighting or uniform wallwashing is too extreme a presentation concept.
Combining both approaches, however, opens
up further options. Wallwashing, on the one
hand, generates a basic brightness in the
room and enables good perception of exhibits on the wall. Accentuation, on the ­ ther
o
hand, differentiates individual works of art
using directed light of a higher illuminance or
enhances the modelling effect on sculptures.

Using coloured walls
for harmonious contrasts
Curators like to use coloured wall surfaces to
produce coordinated contrasts between picture
and wall colour. Uniform
wallwashing underlines
the calm character of the
exhibition concept.

Seeing pictures as part
of the walls
The uniform illumination
of vertical room surfaces
­
gives artwork a prominence similar to the room
and creates a homogenous appearance.

30°

Accentuating walls and
exhibits
For a balanced illumination of the room and
the exhibition, uniform
wallwashing for a bright
impression of the room
should be combined with
accent lighting for good
modelling of sculptures in
the room.

Arranging luminaires
correctly for uniform
wallwashing
The distance from the
wall for wallwashers
should be one third of
the room height to
achieve a uniform light
distribution on the wall.
The luminaire spacing
is the same as the wall
offset.
Using wallwashing
to iIluminate large
­pictures
Uniform illumination
p
­ articularly benefits artwork of a large format.
W
­ allwashing creates a
uniform impression of
the room.

8  

Using washlighting to emphasise large
areas
Washlighting using a wide beam angle is
s
­ uitable for emphasising larger artwork or a
group of objects. The oval flood ­ haracteristic
c
is ideal, for instance, to emphasise a group
of pictures, a long table or wall shelving, as
it requires only one luminaire instead of two
or three spotlights with spot or flood distribution. This approach helps to minimise the
investment costs in exhibition design.

Using vertical illuminance to emphasise
architecture
Washlighting large ­
areas of the wall creates
­
a bright and spacious
impression of the room.
It provides a calm backdrop for artwork and
gives the room the
a
­ ppearance of an inte­
grated whole. As ­ndirect
i
lighting on the walls,
wallwashing also ensures
a pleasant level of brightness in the centre of the
room.

Oval beam characteristic
The oval light distribution pattern is ideal for
efficient illumination of
oblong exhibits.

  9

Three-dimensional exhibits
Modelling sculptures with light and shadow
Defining shapes with shadows
Directed light, produced by spotlights, ­ reates
c
hard-edged shadows for distinctive ­ odelling
m
of three-dimensional objects. The position
of the light source is crucial for the ­ hadow
s
image. A steep angle of incidence over a short
distance produces long and large shadows.
Generally, an angle of incidence of 30° has
proven optimal for the modelling of sculptures.
Exhibition lighting based solely on ­ irected
­
d
light further enables sharp contrasts of light
and dark. The localised beams of the accent
light evoke a magical atmosphere in which
individual aspects can mysteriously stand out
against the dark.

Producing brilliance
Brilliance is useful in drawing attention to
specific parts of an exhibition, as the highlights produced on the surfaces appear to
wander when changing position in the room.
The arrangement of these highlights also
sheds light on the shape of edges and forms
of the exhibits. Objects are enhanced by
emphasising their shape and texture through
brilliance effects. Such manifestations of
b
­ rilliance depend on the compression of the
light source, as the intensity of the light is
of secondary importance. Point light ­ ources
s
such as spotlights with LEDs, therefore, are
ideal as tools for brilliant accent lighting.

Diffuse light for a calm
atmosphere
Skylights with an incidence of indirect daylight or luminous ceilings,
as the technical alternative, provide diffuse light
in the room. The soft
shadows create a peaceful impression. Compared
to high-contrast accent
lighting, they give exhibits
an objective appearance.

Emphasising shapes
with shadows
Curves and contours are
emphasised effectively
through the progression
of shadows.

Uniform light for
multiple exhibits
Large areas with multiple exhibits are best illuminated using a grid of
washlighting illumination
that presents the exhibits
as a whole.

10  

Directed light for modelling and brilliance
Compact light sources
such as spotlights allow
for highly contrasting
shadow effects and highlights. Brilliant sparkle,
now also with LEDs, gives
the impression of value
­
and prestige on gloss surfaces such as metal or
glass.

Diffuse and directed
­
light
Diffuse light comes from
flat light sources such as
luminous ceilings. Similar
to an overcast sky, light
is emitted ­ niformly from
u
various directions producing virtually no shadows and leaving a flat
impression of the sculpture. Directed light, such
as natural sunlight or
accentuating spotlights,
delivers the alternative
of high-contrast shadows that give a ­ ramatic
d
effect, even to subtle
contours.

Luminaire arrangement
for large objects
Large exhibits require
m
­ ultiple luminaires, each
with narrow beams of
light, to prevent glare for
the observer.
Diffuse light ­ roduces
p
virtually no shadows for
a calm atmosphere on
objects.

Directed light forms the
basis for good modelling
of sculptures. A single
spotlight results in harsh
contrasts.

For balanced contrasts on
sculptures, the main illumination is ­ upplemented
s
with a lower intensity
filling light provided by a
second spotlight.

  11

Technology
Optimal use of professional lighting tools
Mounting location in listed buildings
The positioning of luminaires can pose a challenge in historic buildings that, for aesthetic
­
and conservational reasons, may be off ­imits
l
for the installation of luminaires – precious
old vaulted ceilings or ceiling decoration may
be too good to damage with lighting infrastructure. Projecting sections on walls, ceilings
and columns can help to mount luminaires
in a concealed position thereby focussing perception onto the works of art.
Using efficient Spherolit technology
Exhibits of different sizes, luminaires positioned at varying distance from the object
and specific lighting concepts demand a wide
range of beam characteristics. Very narrow
­
light distributions are predestined for small
works of art and large distances to achieve
stark contrasts and good visual comfort.
Oblong sculptures, on the other hand, are
best illuminated using an oval beam characteristic to accentuate the exhibit with a single luminaire. Spherolit lenses are ideal for
variable exhibitions, since their capacity to
be changed easily makes delivering different
d
­ istributions quick and uncomplicated.

Narrow spot
Used to accentuate
­
small objects with high
light intensity or to
project over greater
distances between the
luminaire and the target object. Beam angle
< 10°.

Oval flood
The oval flood Spherolit
lens has an axially symmetrical light ­ntensity
i
distribution, producing
an oval beam of approx.
20° to 60°.

Projection effects
The optical imaging system of projector spotlights enables sharp-edged beams of light or
the precise projection of patterns. Adjusting
the lens changes the edge definition of the
beam for such aspects as high-contrast differentiation of the surroundings. An ­ dditional
a
framing attachment illuminates the ­mages
i
with a precision beam giving the artwork the
appearance of glowing from within. Gobos
or structured lenses add graphic patterns for
a scenographic design.

12  

Framing
The framing attachment
produces a sharp-edged
beam.

Spot
This is the standard
c
­ haracteristic for accent
lighting for objects of
all kinds, especially to
reveal the three-dimensional shape. Beam angle
10°–20°.

Flood
Used for efficient accentuation of large objects or
to uniformly emphasise
a complete spatial zone.
Beam angle 25°–35°.

Wide flood
Used for flexible, flooding illumination of surface areas and spatial
zones, especially useful
for the presentation of
goods. Beam angle > 45°.

Reducing the damage factor with LEDs
The relative damage factor is used to assess
suitable light sources for conservation requirements such as in museums. It specifies the
ratio of the damaging radiation intensity and
the illuminance. Warm white LED lighting
is even better suited for delicate objects than
low-voltage halogen lamps with or without
UV filter.

Wallwash
The light distribution of
the lens wallwasher is
designed to produce very
good uniformity.

Preventing spill light
The soft progression of brightness at the beam
edge ensures precise and neat accent lighting on pictures. The Spherolit lenses of ERCO’s
LED spotlights enable a soft progression free
of spill light. Conventional technologies used
for accent lighting, in contrast, can create
ring-shaped light patterns outside the ­ entral
c
beam of light. This spill light detracts from
the effective illumination of artwork and disrupts the enjoyment of pictures. It is therefore
advisable to use spotlights with precise beams
of light for professional exhibition lighting.

Light source
Relative damage

factor f (mW/lm)
LED warm white, Ra 90 0.149
QT12-RE with UV filter 0.159
QT12-RE 0.169
HIT 930
0.182

Light beams with spill
light
Reflections in the lumi­
naire can cause spill light
disrupting the beam and
producing ring-shaped
light patterns which draw
attention away from the
artwork.

Precise light beams
with Spherolit lenses
The LED optical systems
concentrate the light
with no losses and spill
light to the sides is minimised. As a result, no
c
­ ircular artefacts arise
even outside the main
light beam.

Gobo projection
Gobos or structured
lenses are used to project
patterns and images.

  13

Technology
Technology for efficient visual comfort
Accessories for improved
visual comfort
ERCO products offer a
wide variety of accessories to achieve ­ ighly
h
specialised effects and
satisfy complex photometric demands. The antiglare ring, for example,
enhances the standard
high level of visual comfort of the luminaires.

Optimal light quality through visual
comfort
Avoiding glare is a primary mission in museum
­
lighting. Precise optical systems are the key
to preventing spill light. Other accessories are
available to optimise the visual comfort for
demanding visual tasks. Black anti-glare rings
for spotlights or wallwashers, for example,
restrict the view into the luminaire to minimise direct glare and direct the focus onto the
artwork.

Adjustment of illuminances
Luminaires in museums should be ­ immable
d
for a number of reasons. At the most basic
level, it makes sense to adjust the illuminance
to levels which ensure maximum conservation
of the works; equally, the demand is there to
balance the brightness of luminaires mounted
­
at varying distances and use deliberate differences in brightness for effective light scenes
and to save energy. Motion sensors offer additional energy-saving and preservation options
by switching the lighting in alignment with
visitor traffic. Local on-board dimming allows
individual adjustment of the illuminance. LED
lighting represent a major step forward since
­
the colour temperature does not change over
the dimming range, unlike the low-­ oltage
v
halogen lamps’ characteristics of shifting
towards the warmer white range.

Upgrading existing systems to efficient
lighting technology
In many museums, track systems are used
as the basis for variable and flexible lighting
design. They ensure quick and easy replacement of the luminaires for new exhibitions.
Due to the consistent system design of the
LED spotlights, luminaires with ­ onventional
c
lamps are easy to replace. An LED luminaire’s
luminous efficacy, which is around four times
h
­ igher than that of low-voltage halogen
lamps, combined with a service life of 50,000h
are two major benefits. In this way, both capital and operational expenditure can be reduced
while profiting from the absence of UV radiation.

14  

Checklist for museum lighting
The way to an individual lighting concept
Creating lighting effects in exhibitions
The curator’s decision in favour of a ­ pecific
s
exhibition concept provides guidelines for the
lighting concept. The scope of options ­ anges
r
from uniform illumination all the way to
sharp contrasts through accent lighting and
d
­ ynamic light sequences. Use light to communicate the topic of your exhibition!

Using vertical illuminance
Walls in museums are important presentation
surfaces and therefore deserve special consideration in the design. Uniform illumination of
the walls using special wallwashers enhances
the perception of art and also creates a bright
and harmonious impression of the room.

Dimming on the
spotlight
Spotlights can be dimmed
in various ways to ensure
efficient visual comfort.
The integrated potentiometer enables the luminous flux to be ­ djusted
a
individually on the lumi­
naire.

Using the flexibility of
track
Innovative LED spotlights
are easy to integrate with
existing installations using
ERCO track.

Dimming via circuit
or DALI
Spotlights with potentiometer can also be controlled using external
trailing-edge dimmers.
This makes them ­deal
i
for an energy-­ fficient
e
­renovation of ­existing
lighting installations
which are equipped with
this widely used dimmer

technology. Alternatively,
spotlights are also available as DALI-compatible
Light Clients.

Ensuring flexibility
To ensure a quick response to changing forms
of art and presentation in the long run, it
is wise to opt for an adjustable infrastructure
with track. Exchangeable lenses for different
beam angles, lamp dimming options and flexible lighting control ensure optimum lighting
conditions for museums, also in the future.

Integrating the aspect of conservation
The requirements of conservation of the paintings are often a contradiction to the visitors’
demands for appropriate levels of brightness.
In order to protect the exhibits, it is vital to
shield them against damaging artificial light or
daylight spectra. Today, dimmable warm white
LED lighting is considered the optimum for
sensitive works of art.

Benefitting from efficiency and visual
comfort
Economically efficient lighting technology
­
reduces the operating costs and provides
the financial scope to invest in the collection
and presentation. Excellent luminous ­ fficacy,
e
a high light output ratio and long life have a
positive effect on the operating costs. ERCO’s
modern LED technology offers this and more.
Well shielded luminaires and careful luminaire
arrangement ensure a high quality of light
and visual comfort in the exhibition.

  15

ERCO showrooms
Experiencing light and using services – worldwide

ERCO Media

Events and seminars
These turn ERCO showrooms into meeting places
­
for the local light and
architecture scene. The
showroom is designed
to make it possible to
explain “tune the light”:
to design the qualities
of light in terms of time
and space.

ERCO is a cosmopolitan, globally active
c
­ ompany. ERCO showrooms and offices can
be found in all major markets. Here, our welleducated, specially trained employees work
as lighting advisors. This worldwide network
ensures reliable service and competent, on-site
support especially on international projects:
from providing advice during the ­ lanning
p
stage, tendering, sample supply, project planning and supply logistics to customer service
and training.
“Consultant to the consultant” – this is how
ERCO lighting advisors see their role in the
building process: they provide professional
support to designers in all matters relating to
lighting technology and in each individual project phase. With case-related specialist information and customised product documentation they help customers to make the correct
decision when selecting lighting equipment.
The showrooms and offices provide ­deal
i
facilities for meetings during the project phase.
Each facility has a mock-up section for sample
and other product demonstrations, and quite
often, the showrooms outside show examples
of use for ERCO’s lighting tools.
­
However, our ERCO service does not end
with the punctual delivery of the products:
after switching on, our lighting advisors support customers with communication or site
services and also with recommendations, advice
and assistance in such aspects as maintenance,
adjustment or extension of a lighting system.

www.erco.com
The ERCO Light Scout on
the Internet is the leading
medium in terms of upto-date product information. The product section
of the Light Scout and
the PDF product specification sheets are all regularly updated. Light Scout
meets the requirements
of a globalised market
place with product information in 10 versions for
different ­anguages and
l
regions and with ­nternet
I
navigation in 5 languages.

Didactics
Interactive knowledgebased modules in the
Guide area of the Light
Scout cover the fundamentals of designing with
light and provide user
information on lighting
tools. Various specialist
brochures provide information on topics such as
LED technology or light
in the outdoor area.

Light qualities
Experiencing the product variety and scope for
design of ERCO’s range of
luminaires up close and
personal: ERCO’s showrooms provide ­ ivid examv
ples from the exterior
­
design to the mock-up
section inside.

ERCO Program
The printed catalogue
contains all the important information and
design data – in black
and white, compact
and always accessible.

On site
Many issues only emerge
during the building process and require site
meetings. ERCO employees help to organise
­sample products, ­provide
assistance on lighting
technology issues and
solve logistical problems.

www.erco.com/contact

16

To provide designers with optimum support
at every stage of their work, ERCO offers a
multitude of both classic and digital media.
Our extensive range of material is divided into
information on products, reference projects
and didactic subjects.
All ERCO documents have been designed
to perfectly complement the design of coherent and uniform lighting concepts. The layout,
structure and terminology of the various ­ reas
a
of the product range have been harmonised to
make orientation as easy as possible for users.

Product specification
sheets
These documents are
available online in PDF
format and contain
detailed information on
a specific product.

Products
Our extensive range of
lighting solutions for
architectural applications is divided into the
three product ranges:
lighting controls, indoor
l
­uminaires and outdoor
luminaires. This structure is repeated in both
the Light Scout and the
printed catalogue.

Digital design data
In the Light Scout, information on each ERCO
article is available for
download with comprehensive digital design
data for use in CAD, light
calculation and light simulation software. The data
can be used, for example, to create impressive
v
­ isualisations in DIALux
or Autodesk 3ds Max.

Projects
Much space in ERCO
communications is
­devoted to ­fascinating
light in ­ rchitectural
a
applications – examples
­
include the “Projects”
area of the ERCO Light
Scout and our magazine
“ERCO Lichtbericht”.

17

tune the light

E

Light for museums

E

Art. No. 10.29416.000 EN 12/2012

Concepts
Applications
Technology