site for thesis: museum of light

I assume your "museum of light" is to showcase not only examples of displays of light, but
the perception of light?

I ask because the perception of light plays an important part in the design of architecture, so
that the latitudes where the Sun is weaker and softer is percieved as a friend and so is freely
allowed into interior spaces with all glass walls, and vice versa, where the Sun is stronger and
fiercer and percieved as an enemy, then tiny windows in massive walls are used to limit
entry.

Modern architecture (total glass design) of course has broken such natural perceptions of
light and lighting, but then most modern architecture is based upon the old saying "Throwing
the baby out with the bathwater."

LIMEC is designed to be a knowledge house as well as a museum. It will also encourage research in
the field.

alking to newspersons here, Karnataka Power Transmission Corporation Limited (KPTCL) Chairman
Bharatlal Meena said the KPTCL would set up the proposed Lights Museum and Energy Centre,
which would also house a Human Resources Development wing. It would showcase cutting edge
innovation technology, art, architecture and design with respect to lighting and energy sector. He
said the centre would disseminate information about energy related issues by providing accurate
and useable information to specific users and clients. It would work in close association with
technology centres and library, he added. Mr Meena said the main objective of setting up the
museum was to foster the application of energy-efficient lighting by facilitating technology
demonstration, development, outreach and educational activities. It would be developed as a centre
of excellence in the field of light and lighting related matters. He said the museum, to come up on
eight acres of land, was slated to become a national monument.
THE LIGHT MUSEUM AND ENERGY CENTRE 2010-11

EXISTING RESEARCH INSTITUTIONS, EXPOSITIONS, MUSEUMS ANDINDUSTRY PROVIDE PIECE-

MEAL INFORMATION TARGETED TOWARDS SPECIALIZED GROUPS. THERE IS A NEED TODISSEMINATE
INFORMATION TO THE GENERAL PUBLIC AS
WELLAS EXPERTS ON DESIGN PRACTICES FOR HIGH PERFORMANCELIGHTING APPLICATIONS AND
IMPROVED AESTHETICS.

OBJECTIVES:

TO SHOWCASE INTERACTIVE LIGHTING APPLICATIONSWHERE “CAUSE AND EFFECTS” ARE DEMONST

RATEDEFFECTIVELY ON MANUAL AND DIGITAL SYSTEMS.

TO SHOWCASE ILLUMINATION TECHNOLOGY THAT

ALLOWSLIGHT TO BE USED IN DIVERSE AREAS RANGING FROMHOMES, OFFICES, THEATRE, SHOPS/M
ALLS, STREETS,INDUSTRY, PAINTING, PHOTOGRAPHY, LASER/LIGHT SHOWSAND HOLOGRAPHIC 3-D
IMAGES.

TO COVER INDIAN AND INTERNATIONAL TECHNOLOGIESDESIGNED TO BE OF INTEREST TO THE LIGH

TINGPROFESSIONALS AS WELL AS THE GENERAL PUBLIC.

TO GIVE BE AN OPPORTUNITY TO UNDERSTAND ANDEXPLORE ADVANCED LIGHTING CONCEPTS AN

D ENHANCEPERFORMANCE.
SCOPE:

THE LIGHT MUSEUM AND ENERGY CENTRE 2010-11

THIS PROJECT SCOPES OUT FOR COMPLETE UNDERSTANDING

OFEFFICIENT LIGHTING IN BUILT FORM AND INCORPORATE THESAME IN MUSEUM DESIGN.STUDY
OF EFFICIENT DAY LIGHTING TECHNIQUES IN DIFFERENTBUILDING TYPES LIKE RESIDENTIAL,
COMMERCIAL, INSTITUTIONALETC..

TYPE OF PROJECT (LIVE OR HYPOTHETICAL)

THE LIGHT MUSEUM AND ENERGY CENTRE IS A LIVEPROJECT IN WHITE FIELD, BANGALORE.

5.0 INFORMATION AND THE SOURCE

A. LOCATION

LOCATED IN WHITE FIELD , BANGALORE,

B . CASE STUDY DETAILS

LIVE CASE STUDY :

SINCE THE LIGHT MUSEUM IS THE FIRST OF ITSKIND IN INDIA, A LIVE CASE STUDY OF THE SAME IS
NOTFEASIBLE. HOWEVER, CASE STUDIES OF THE CONSTITUENTCOMPONENTS MAY BE DONE ON AN
INDIVIDUAL BASIS TO INFERMAJOR DESIGN CONSIDERATIONS. THEREFORE, THE FOLLOWINGWILL BE
CARRIED OUT.

THE LIGHT MUSEUM AND ENERGY CENTRE 2010-11

- CASE STUDIES:-NATIONAL MUSEUM, BANGALORE.

LITERATURE STUDY :

-
LIGHT MUSEUM, GERMANY.

-MILWAUKEE MUSEUM- SANTIAGO CALATRAVA.

JEWISH MUSEUM- DANIEL LIBESKID.

THE LIGHT MUSEUM AND ENERGY CENTRE 2010-11

- CASE STUDIES:-NATIONAL MUSEUM, BANGALORE.

LITERATURE STUDY :

LIGHT MUSEUM, GERMANY.

-MILWAUKEE MUSEUM- SANTIAGO CALATRAVA.

JEWISH MUSEUM- DANIEL LIBESKID.

SPECIAL STUDY / FOCUS AREAS :STUDY OF FACTORS INFLUENCING DAYLIGHT IN BUILDING:

SKY CONDITIONS.SUN ANGLE.SUN MOVEMENT.DESIGN ELEMENTS LIKE FENESTRATION AND

MASSING.SHADOW TECHNIQUES.

LIGHTING TECHNOLOGY:

STUDY OF THE LATEST AND MOSTEFFICIENT LAMP, LUMINAIRE, BALLAST, AND

CONTROL TECHNOLOGIES TYPICALLY USED IN COMMERCIAL SETTINGS, INCLUDING NEWAND

THE LIGHT MUSEUM AND ENERGY CENTRE 2010-11

EMERGING ENERGY EFFICIENT LIGHTING TECHNOLOGIES SUCH ASLIGHTEMITTING
DIODES (LEDS). TO EVALUATE THESE TECHNOLOGIESFOR QUALITY, ENERGY EFFICIENCY, AND
COMPATIBILITY.

LIGHT AND COLOR:

INFORMATION ON LIGHT AND COLOR,INCLUDING CORRELATED COLOR TEMPERATURE OF

LIGHTSOURCES, COLOR RENDERING METRICS, SPECTRUM, COLOR AND THE HUMAN VISUAL
SYSTEM, AND OTHER APPLICATION ISSUES .

LIGHTING CALCULATION:

POINT AND LUMEN METHODCALCULATIONSINCLUDING CALCULATION OF COEFFICIENT OF

UTILIZATION (CU),LIGHT LOSS FACTORS, ETC., TO ASSIST IN THE DESIGN ANDSPECIFICATION OF
LIGHTING EQUIPMENT FOR INTERIOR SPACES.

DAYLIGHTING CALCULATION AND ANALYSIS:

INFORMATION ON DAYLIGHTING DESIGN AND THE CALCULATIONOF DAYLIGHT LEVELS TO ASSIST IN

EFFECTIVE DESIGN OFDAYLIGHT BUILDINGS AND EVALUATE OPTIONS TO IMPROVEDAYLIGHT ACCESS
AND PENETRATION IN BUILDINGS;UNDERSTAND THE IMPACT OF BUILDING SITE,
BUILDINGCONFIGURATION, WINDOW AND SKYLIGHT CONFIGURATION,MATERIALS, AND GLAZING
TYPEON DAYLIGHT PENETRATION.

HUMAN FACTORS IN LIGHTING:

IMPACT OF LIGHTING ON HUMAN VISION,THE EFFECTS OF AGINGON VISION AND HOW TO USE
LIGHTING TO ACCOMMODATE THEVISUAL NEEDS OF OLDER ADULTS, AND PARTIALLY SIGHTED.

LIGHTING DESIGN AND APPLICATION:

RECOMMENDEDPRACTICES AND IMPORTANT ISSUES IN LIGHTING APPLICATIONAND DESIGN FOR

COMMERCIAL, INDUSTRIAL, INTERIOR ANDEXTERIOR SETTINGS.LIGHTING REQUIREMENTS OF
INTERIOR ANDEXTERIOR SPACES, INCLUDING APPROPRIATE SITING OF LIGHTING

THE LIGHT MUSEUM AND ENERGY CENTRE 2010-11

EQUIPMENT AND DAYLIGHT AVAILABILITY ANALYSIS DEVELOPDESIGNED ILLUMINATION AND

LIGHTING CONTROL SYSTEMS,INCLUDING FIXTURE SELECTION AND DESIGN, AND LIGHT
SOURCESELECTION. REVIEW CASE STUDIES OF LIGHTING FROM A VARIETYOF COMMERCIAL,
RESIDENTIAL, AND INDUSTRIAL SETTINGSPROJECT REQUIREMENTS1.MUSEUM

MAIN LOBBY & SECONDARY LOBBIES

•

ART GALLERIES ON LIGHT

TECHNICAL GALLERIES

AUDIO VISUAL GALLERIES

BREAK OUT LOUNGES & WASHROOMS

ENTERTAINMENT ARENAS WITH LIGHT.

TECH. SHOWCASE AND EXPO2.TRAINING INSTITUTE.

ADMINISTRATION.

LECTURE HALLS.

LIBRARY.

AUDITORIUM.3.RESEARCH CENTRE

PERFORMANCE AND EFFECTS

HARD WARE AND TOOLLENDING LIBRARY

THE LIGHT MUSEUM AND ENERGY CENTRE 2010-11

•

CONFERENCING CENTRE. 4.CAFETERIA

Reason for selection of

Topic:

To create a space for recreation and interaction, where the

general masses can come, see the displayed art form, watch the

performing art, interact with the artists and get informed in the

general sense of the word about the art and the artists currently

practicing it.

The connections between the rural and urban centers and the

poor infrastructural set up leave the customers with limited choice

to explore all such diversified handicraft items.

On the other hand, interest in Ethnic

Gujarat

is growing day by day

in the foreign and Indian tourist sector.

•
Hence

the artisans development

is necessary and has been

selected as the cornerstone of this Thesis project

Hence the

artisans development

is necessary and has been selected as the

cornerstone of this Thesis project.

Aim and Objectives:

To highlight the quantity and uplift the quality of art works and

promote the appreciation of art in the city

To establish a centre for the preservation and promotion of

traditional performing and visual arts. Various art

forms in the

traditional idiom will also be promoted as part of the centre

cultural programmers.

To establish, equip and

maintain schools

, auditorium

libraries, archives, museums, studios, workshops and

other

facilities necessary

to fulfill the above

objectives and

rovide

recreational

facilities.

To

create an environment for the preservation of the traditional

crafts which are fast dying due to the onslaught of industrial

products. In the pursuit of this aim, it would further be

necessary to establish a direct contact between the craftsmen

and the buyer by removing the middleman.

Scope:

To understand relationship between built and open spaces.

The design would focus upon landscaping and would stress

upon the relationship with its immediate surrounding.

Limitations:

As the project contains an apparently vast

infrastructure variety of functional components.

Thus, it would not be possible to stress upon a

particular component of its functional utility.

•

Hence needs team work and a multidisciplinary approach,

which is difficult because it is being handled individually, with in

a limit time period, within a limited time period. But an attempt

will be embedded to these units in one scheme and identity shall

be of the project as a whole

Methodology:

Methodology:

1.

Objectives and data collection

Study of site and analysis of available information

Collection of basic information about the project

2. Case studies

Case study

Literature study

Comparative studies between case studies and literature study

3. Concept design development

Concept formulation of design ( sketches, 3ds, concept model)

Develop integrated design solution .

4. Final design development

•

Refinement of conceptual design

Defining of movement patterns, open spaces, zoning of various

functions

Detailing of building blocks

Landscape planning of internal and external spaces

Case Studies and Literature Studies:

Global Art Village

Delhi

Anandgram

Delhi

Garhi

Village

New Delhi

Shilpgram

Udaipur
•

Cholamandal

Chennai

Basic Space Requirements:

Administration

Artist Condominiums

Workshops

Festival/ Concert/ Performance Grounds/ Amphitheatre

Art gallery

Dance/ drama/music classes

Basic Space Requirements:

Cultural and social spaces.

Mela

ground

Theme parks

Library
•

Parking

Display Kiosks

Food Courts

Pantry

Toilets
Introduction The purpose of my thesis is to study qualitative and quantitative aspects of museum
lighting design in existing installations. The museum design will guide the visitors to discover, explore
and learn about history in a creative environment. Lighting plays a significant role in developing
interaction between humans and museum artifacts in one defined space." The goal of a museum is
to create an interactive experience for the guests, as well as preserve the condition of artifacts.
Lighting is a critical component in a museum environment because the space enables visitors to see
objects, experience new sights and react to the surrounding environment. Typically, environments
have two types of light–natural and artificial. For a museum, the role of light is an essential part of
creating an atmosphere prime for discovery, while also preserving artifacts. This can be a very
difficult balancing act between meeting preservation needs and forming interactive experiences that
achieve the goal of the museum–a place to discover, explore and learn. Illumination Engineering
Society of North America (IESNA) provides parameters and standards for lighting design in a museum
to ensure safety, preserve artifacts, and create an interactive experience for guests of all ages. A
brief review of literature will help understand this thesis. The literature encompasses qualitative as
well as quantitative aspects of lighting in a museum. Daylight Museum designs incorporate daylight
because humans relate to nature. "Natural Light can be used to great effect to dramatize and enliven
the design of 7
 any building (De Chiara, 690, 2007). Light defines a space within a building’s design.
Daylight always fluctuates and often is fused in interactive spaces. Cloud cover, season, the time of
day and a building’s position are factors directly impacting lighting design and how humans
experience the space. The amount of daylight penetrating the museum interior must be given
serious consideration to understand how natural light impacts the space. Factors such as reflection,
glare, acclimation and delineation in the space should be analyzed closely. IESNA has researched and
made factors that “affect the final luminance produced by architectural surfaces and daylight” (RP-
30-96, 30, 1996). Scale and proportion are important considerations. The “ceiling height and room
depth” directly correlate to the amount of daylight absorbed and explore the intent of light in the
space (RP30-96, 30, 1996). Various heights and room depths also can affect human perception of
space. The amount of daylight and how natural light is filtered into a space will create several
different effects in a specific space. For example, if a room is small with high ceilings and a punch of
daylight, it will be perceived as being larger. If a room is large with low ceilings and little daylight, the
space can feel confined and stagnant. The placement of windows or glazings and the available
amount of natural light gives the design variety. “Reflecting characteristics of the interior surfaces” is
another factor with IESNA standards. Interior materials and finishes should be selected to contribute
to the overall aesthetic of the space. When daylight is introduced in a space, interior finishes can
create more reflective surfaces and cause a negative effect. Materials and finishes that are too shiny
or reflective create glare. If there is glare or too much reflective light, guests may experience
discomfort while interacting in the museum, and their 8
 experience will be greatly altered. Lighting
design needs to encompass the dynamics of daylight and use light properly to assist in creating an
interactive and comfortable museum experience.