The exhibition spaces as "white cubes" support the objective viewing of art. The uniform wallwashing does not differentiate between the art and the wall to give a generous spatial impression. Richard Nonas / Donald Judd exhibition in the Fergus McCaffrey gallery, New York Photography: Edgar Zippel.
The neutral background of wallwashing is especially advantageous for galleries and art fairs because lighting need not be modified if formats and exhibits change. Art Basel at the Miami Beach Convention Center. Photography: Moritz Hillebrand.
Homogeneous wallwashing communicates the impression that large-format works and walls blend to become a single entity. YUZ Museum, Shanghai. Architecture: Sou Fujimoto Architects, Tokyo. Photography: Sebastian Mayer.
The room and the light atmosphere in the painting are in unison at the Barbican Art Gallery in London: uniform daylight and wallwashing correspond with each other. Architecture: Chamberlin, Powell and Bon, London. Photography: Frieder Blickle.
Accent lighting at the Louvre Lens Museum emphasises the exhibits below the daylight ceiling in a very subtle way to create a peaceful atmosphere. Architecture: SANAA, Tokyo. Exhibition design: Studio Adrien Gardère. Museum lighting and installation: ACL Alexis Coussement. Lighting design: Arup, London. Photography: Iwan Baan.
Accent lighting attractively models the sculptures with light and shadow that would not be possible with a light ceiling for general illumination. Musée Bourdelle, Paris. Architecture: DBLH Architectes, Paris. Lighting design: Julia Kravtsova, Paris. Photography: Edgar Zippel.
Various beam distributions enable exhibition organisers to individually emphasise exhibits. Museum Gugging, Maria Gugging. Photography: Gustavo Allidi Bernasconi.
Separate light beams underline the individuality of art treasures and give the exhibition a sense of structure. Ewha Womans University Museum, Seoul. Architecture: Junglim Architecture, Seoul. Photography: Sebastian Mayer.
The cool-warm contrast between the blue wall and gold in the painting achieves a subtle contrast that emphasises exhibits at the Pinacoteca di Brera, Milan. Architecture: Alessandra Quarto / Angelo Rossi. Photography: Dirk Vogel.
The foreground achieves a harmonious relationship between the gold colour and red wall whilst the artwork significantly distances itself from the wall in the background. Pinacoteca di Brera, Milan. Architecture: Alessandra Quarto / Angelo Rossi. Photography: Dirk Vogel.
Precise accenting lifts the exhibits from the mysterious darkness of their surroundings. The Feuerle Collection, Berlin. Architecture: John Pawson. Photography: Sebastian Mayer.
Variously sized exhibits are precisely accented with a gamut of light distributions ranging from very narrow to wide. Arario Museum Tapdong Cinema, Jeju. Lighting design: Arario Creative Design Team, Jeju. Photography: Sebastian Mayer.
The intensive contrast in brightness in Caravaggio's painting is reflected in the lighting concept with accent lighting. Museo di Capodimonte, Naples. Photography: Thomas Mayer.
Accent lighting with spotlights significantly emphasises the painting in the space for visitors. Uffizien, Florence. Photography: Dirk Vogel.
Contour spotlights enable works of art to impressively illuminate from within. Hangaram Design Museum, the Seoul Arts Center, Seoul. Photography: Sebastian Mayer.
Sculptures in the Augustiner Museum in Freiburg are intensified with crisp-edged light beams. Architecture: Prof. Christoph Mäckler Architects, Frankfurt. Lighting design: Kress & Adams Atelier für Tages- und Kunstlichtplanung, Cologne. Photography: Thomas Eicken.
An intensive contrast between the black room and the luminous frame intensifies the aura of exponents in the "Leonardo da Vinci/1452-1519" exhibition at the Palazzo Reale in Milan. Architecture: Corrado Anselmi, Milan. Lighting design: Barbara Balestreri, Milan. Photography: Dirk Vogel.
The defined light beams on the antique objects establish a bridge to the stringent geometry of the wall of windows at the Museo Egizio in Turin. Architecture: Migliore + Servetto. Photography: Dirk Vogel.
The effect of stringent linear arrangements with artworks can be perfectly emphasised with contour spotlights – these limit the light beam to the picture surface, leaving the surrounding wall in shadow. Arario Museum Dongmun, Jeju. Photography: Sebastian Mayer.
The British artist Matthew Penn classifies his works as hyperrealistic, emphasising nuances in brightness using several contour spotlights for each work. Photography: Frieder Blickle.
Varying the brightness and light colour creates dynamic light with a pulsating atmosphere for celebrating the experience of culture. MAMUZ Living Museum for Prehistory, Schloss Asparn/Zaya, Asparn an der Zaya. Exhibition architecture: Atelier Christoph Cremer, Vienna. Photography: Gustavo Allidi Bernasconi.
Interfaces between lighting and apps or augmented reality enable museums to interactively communicate their culture. YUZ Museum, Shanghai. Architecture: Sou Fujimoto Architects, Tokyo. Exhibition design: IDEAA3, Shanghai. Photography: Sebastian Mayer.
Accenting art with white light enables good colour rendering, particularly in situations where coloured dynamic lighting is implemented in the background. Danubiana Meulensteen Art Museum, Bratislava. Photography: Dirk Vogel.
|Exhibition concept||Art and the space||Light||1. Objective reception of art||
||2. Subtle emphasising of artworks and motifs||
||3. Dramatic display of exhibits||
||4. Magically illuminating artworks||
||5. Interpreting of artworks with hyperrealism||
||6. Dynamic communication of exhibitions||