Major Project: Natural Lighting in Adaptive Reuse Art Galleries

This project investigates the use of natural lighting in adaptive reuse art galleries, focusing on balancing display requirements with art conservation needs. It examines various sources of natural light, analyzes lighting conditions in adaptive reuse buildings, and determines the effect of diurnal changes on exhibits. The study uses experimentation on selected case studies to conduct research and presents findings in the form of color-coded light contour diagrams. Key findings indicate that 50 lux is the minimum light level needed to appreciate an exhibit without causing damage, and different materials require different lighting levels. Recommendations include careful treatment of openings, effective selection of internal surface finishes, and further research to fully exploit natural light while adhering to art conservation requirements. The project emphasizes the importance of considering display lighting requirements against art conservation to prevent deterioration of exhibits due to light exposure.

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NATURAL LIGHTING PERFORMANCE IN ADAPTIVE REUSE ART GALLERIES
By (Name)
Course
Professor’s name
University name
City, State
Date of submission

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Executive summary
Light is the most important element in art display institutions, with natural light even more
valued due to the dynamism and vibrance associated with it. It is therefore of uttermost
importance that natural light is well captured, filtered and manipulated to create ideal viewing
environments while maintaining the integrity of exhibited works. Unfortunately, this is not the
case with adaptive reuse art galleries where spaces designed for various other uses are adapted in
order to suit art viewing functions. There is little or no consideration for natural light and as a
result the exhibits are either under lit or prompt the use of expensive and environmentally
unsustainable artificial lighting.
The objectives of this study are to investigate sources of natural lighting in art galleries in
adaptive reuse buildings, to analyze the natural lighting conditions in art galleries in adaptive
reuse buildings with respect to display and conservation requirements and to determine the effect
of diurnal change in natural lighting conditions on exhibits in adaptive reuse art galleries. As
daylighting in the tropics is primarily a study in control, display lighting requirements are
weighed against art conservation requirements in order to ensure that exhibits do not suffer
deteriorating effects due to light exposure. The author uses the experimentation method on
selected case studies to conduct his research. This is because the study required experimentation
in the form of lighting analysis carried out within a case study context with the results presented
in the form of colour coded light contour diagrams.

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The findings show that 50 lux is the minimum amount of light needed to fully appreciate an
exhibit while ensuring that it is not damaged by light. They also reveal that different material
exhibits require different levels of lighting in order to reduce on the damaging effect of natural
light on exhibits. These effects can be mitigated through use of UV filters on glazed surfaces,
reducing the time of exposure to UV radiation and reducing the amount of UV radiation reaching
a surface.
Based on the research findings, the author draws three main recommendations that can be
adopted in art galleries in adaptive reuse buildings in order to fully exploit natural light while
observing art conservation requirements.
These are: careful treatment of openings, effective selection of internal surface finishes and
recommendations for future research as well.

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Table of content
Introduction....................................................................................................................................7
Problem statement.........................................................................................................................8
Research objective.......................................................................................................................10
Specific objectives........................................................................................................................10
Background..................................................................................................................................10
Literature review.........................................................................................................................11
Sources of daylight.....................................................................................................................12
Sunlight..................................................................................................................................12
Skylight..................................................................................................................................13
Externally reflected light........................................................................................................14
Internally reflected light.........................................................................................................14
Daylighting design strategies.....................................................................................................15
Size, location and orientation of the building.........................................................................16
Characteristics of internal sources..........................................................................................18
External obstruction...............................................................................................................19
Daylighting consideration for an art gallery..............................................................................20
Lighting for exhibit....................................................................................................................20
Colour of Light.......................................................................................................................22
Lighting for background............................................................................................................22
Lighting for general environment..............................................................................................23
Glare control.............................................................................................................................24
Display viewing and art conservation........................................................................................25
Effects of natural light on exhibit..............................................................................................27

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Recommended values of illluminace.........................................................................................27
Mitigating the destructive effects of natural light on exhibits.............................................27
Other measures...........................................................................................................................28
Research Findings........................................................................................................................30
Case study: the bag factory art gallery and artists’ studios........................................................30
Background information............................................................................................................30
External obstruction...................................................................................................................31
Obsolescence and Adaptive Reuse Criteria...............................................................................31
Natural light analysis.................................................................................................................33
Natural lighting findings............................................................................................................34
PMA Natural Light Findings.....................................................................................................36
Conclusion....................................................................................................................................39
References.....................................................................................................................................41

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Introduction
Human beings have an intrinsic motivation to move towards light. This phenomenon, known as
phototropism, is informed by the residual belief that light brings with it safety, food and even
companionship (Russell, 2008). Our long-standing relationship with light, especially natural
light, has seen us try to harness all its benefits for use in our shelters. When well utilized,
daylight not only connects us to our environment, but invigorates our spirits and alleviates
depression.
In the words of Le Corbousier, “architecture is the wise, correct and magnificent play of volumes
collected together under the light.” This relationship between architecture and light occurs
inevitably, sometimes consciously and other times subconsciously. As with architecture, good
lighting illuminates, clarifies and stimulates. Bad lighting on the other hand dazzles, confuses
and produces weariness. (Portela, 2012). For centuries, daylight was the only efficient source of
light available. Architecture was dominated by the goal of spanning wide spaces and creating
openings large enough to distribute daylight into building interiors. This is evident throughout
history, from the precise lighting of Classical Greek architecture to the large scale, almost
supernatural lighting through the stained glass windows of Gothic architecture (Portela, 2012).
In art galleries, natural light is a heavily valued commodity. It renders colours in their most
realistic expression, enabling viewers to appreciate exhibits in emphatic vividness. Natural light
also ensures that the visitor to an art gallery remains in touch with the ever changing world
outside the museum. Effective daylighting not only provides psychological advantages in art
galleries, but financial benefits as well. (Portela, 2012).

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Fig. 1.01, 1.02: Images showing natural light providing illumination within the interior of The
Bag Factory Gallery, Johannesburg, SA.
Source: http://www.bagfactoryart.org.za/category/exhibition/
Problem statement
A room is not a room without natural light - Louis Khan.
Light is the most important element in art display institutions, with natural light even more
valued due to the dynamism and vibrance associated with it. It is therefore of uttermost
importance that natural light is well captured, filtered and manipulated to create ideal viewing
environments while maintaining the integrity of exhibited works.
Art production in Kenya has reached a very advanced level, but this is not reflected in the
standards of existing art viewing institutions. Kenyan born artists are internationally sort after,
their work selling for vast amounts of money and being displayed in leading art institutions
around the world. The situation back home is rather less inspiring, with most art galleries being
housed in buildings originally designed for other activities. This has seen warehouses, residential

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spaces and even containers undergo various transformations to serve art viewing functions.
While these transformation processes take place, natural light becomes an afterthought,
prompting the use of environmentally and financially unsustainable artificial lighting systems.
Through this study, the author hopes to show how natural light can be fully harnessed and
utilized in adaptive reuse art galleries while observing display and art conservation
requirements.
Fig. 1.04: Image showing a ceramic pot by Prof. Magdalene Odundo, a celebrated Kenyan
sculptor who has received accolades from all around the world.
Source: https://www.theeastafrican.co.ke/magazine/Magdalene-Odundo-super-ceramicist-/
434746-4813726-14d1714/index.html

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Research objective
• To investigate sources of natural lighting in art galleries in adaptive reuse buildings.
Specific objectives
To analyze the natural lighting conditions in art galleries in adaptive reuse
buildings with respect to display and conservation requirements.
To determine the effect of diurnal change in natural lighting conditions on
exhibits in adaptive reuse art galleries
Background
Australia has a long and illustrious artistic history. From emblematic dances to intricate
sculpture, our appreciation for art is and always has been unquestionable. Traditionally, our
artists have channelled their creative prowess into various forms of carving, body art and
decoration of functional items such as water gourds, stools and neck pillows. In recent years,
there has been growing interest in oil and acrylic painting, with artists such as Mirka mora
leading the way. Their work has been exhibited both locally and internationally to critical
acclaim. Art viewing in Australia has seen unprecedented growth over the last decade. Canberra
in particular has proved itself to be a major art hub.
Further evidence of the growth of the Australian art scene is the mushrooming of art centres
across the country. These art centres more often than not find themselves in structures originally
designed to host different functions, thus struggle to provide fully functioning exhibit spaces.
Older buildings are generally more energy efficient than newer ones, compatibility between old
and new demands an in depth knowledge of previous methods and materials of construction. It

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also requires sensitivity to the original design ethic and professionalism that may sometimes
require “new” to act as a respectful backdrop for the old (Woodcock, 1988).
Literature review
For centuries, daylight was the only efficient source of light available. Architecture was
dominated by the goal of spanning wide spaces and creating openings large enough to distribute
daylight to building interiors.
The first public art galleries, Alte Pinakothek in Munich (Fig. 2.01) and National Gallery in
London (Fig. 2.02) were built in the early 19th century and relied entirely on daylight for
illumination. Daylighting in both was through roof lights, which were preferred to side windows
as the former allows walls to be free for display. Both galleries are fully dependent on natural
lighting for day time usage to date.
Natural light, when left unimpeded, can be destructive. This phenomenon was first brought to
light through studies at the National Gallery, London by Russell and Abney (1888). They
observed that water colour paintings displayed in galleries were subject to rapid deterioration due
to exposure to light. As such, daylight design is primarily a study in control (Russel, 2008). The
need to light exhibits naturally is weighed against stringent conservation requirements. In this
regard, the controlling factor in natural lighting for art galleries is fundamentally, conservation.
All daylighting strategies make use of the luminance distribution from the sun, sky, buildings,
and ground. Daylight strategies depend on the availability of natural light, which is determined
by the latitude of the building site and the conditions immediately surrounding the building
(Meffert, 1980).

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Fig 2.01: Display space at the Alte Pinakothek, one of the world’s first purpose built art galleries.
Source: Retrieved on 15/6/14 at 15:46PM from www.articlesweb.org.
Fig 2.02: The National Gallery in London.
Source: Retrieved on 15/6/14 at 15:54PM from 8 www.flipkey.com
Sources of daylight
Sunlight
This is the direct light taking the shortest distance from the sun to the point of interest in a space
(Fig.2.03). Luminance from the sun is usually of very high intensity, and may cause glare,
thermal discomfort and damage to art and fabrics when allowed to enter a space in an inhibited
manner (Meffert, 1980). Not only does it cause visual discomfort, but has adverse effects on art
displays due to the high levels of ultraviolet radiation present in sunlight. It is therefore not
encouraged as a direct source of light in art galleries.