Comments on: Follow up: Museum Lighting

By: john roberts

john roberts — Thu, 08 Apr 2010 01:07:49 +0000

Aside from the Dan Flavin stuff, which is great minimalist work, it is flourescent lighting…

By: krwlos1

krwlos1 — Mon, 29 Dec 2008 22:17:22 +0000

this discussion on lighting reminds me of an installation i just saw last week at the walker art center in minneopolis, where the fluorescent lights of dan flavin actually ARE the art. http://collections.walkerart.org/item/object/562

By: marshall

marshall — Tue, 23 Dec 2008 16:29:57 +0000

I’ve always liked combination lighting in museums. The Brewery Project had a combo of banks of flourescent lighting providing general lighting with hanging tracks for halogen floods.

By: Contemporary Art

Contemporary Art — Mon, 22 Dec 2008 21:30:24 +0000

Thanks for this post! An interesting angle on the conversation that I hadn’t thought much about before. Keep up the good work. You guys are on our (very short) blog roll.
–
http://www.contemporaryartdaily.com

By: Allison Agsten

Allison Agsten — Mon, 22 Dec 2008 18:17:41 +0000

That sounds like a pretty inspiring moment you had at the Getty! If you like natural lighting, you might want to check out BCAM, if you haven’t already. The third floor galleries come alive with sunlight. In order to protect the works of art, as well as to ensure optimal viewing conditions, the roof system captures northern light and controls the intensity of that light with automatically activated rollershades. Jeff Koons’ Balloon Dog and Cracked Egg (Red) seem especially dazzling in this environment.

By: Davidsindy

Davidsindy — Mon, 22 Dec 2008 18:07:18 +0000

Let’s not forget the wonderful light of the Kimball in Dallas.
A wonderful use of natural light by a great architect…
Designed by the American architect Louis I. Kahn (1901–1974), the Museum has won wide acclaim for its classic modern building since its opening in 1972. Kahn’s innovative use of natural light and subtle articulation of space and materials greatly enhance the experience of the art. Kahn envisioned a museum with “the luminosity of silver.” In his design, “narrow slits to the sky” (as he described the skylights) admit natural light, which perforated metal reflectors disperse onto the underside of cycloid-shaped vaults and down the walls. Courtyards, lunettes, and light slots vary the quality and intensity of the light. The building’s gracious proportions, fine craftsmanship, and beautiful landscaping add further to the sense of serenity and restraint. (From the museum website)

By: mbuitron

mbuitron — Mon, 22 Dec 2008 16:47:10 +0000

What about the sun? A favorite memory came from being on the second floor of the Getty when the ceiling louvers in their skylights moved from one angle to another. For a brief moment there was stripped flash of sunlight that moved across the floor and up the fabric-covered walls. It was a palate-cleansing intermezzo of Robert Irwin amid all that baroque.