The Art of Light in the contemporary Art Museum

Jae Hyun Park_Jung Eun Lee

Content
Introduction 01
Introduction
Case Study 1. Trapholt Art Museum_Boje Lundgaard, Bente Aude 03
2. Herning Museum of Contemporary Art_Steven Holl 07
Light enables us to see; it stimulates, informs and excites us. There can be no visual form without light. It
3. Kolumba Art Museum_Peter Zumthor 11
conditions both the way we see our world and the way we feel.
4. Punta della Dogana Contemporary Art Centre_Tadao Ando 15
5. Gallery of Horyuji Treasures_Yoshio Taniguchi 17
Light has many sources. The sun, moon, fire, and electricity all light our world. Differing kind of light
6. Suntory Museum of Art_Kengo Kuma 21
cause us to see and respond in different ways. Light is constantly changing from dawn to dusk, from
season to season.
Light Analysis 1. Light as manupilating movement 23
2. Natural Light as an artificial light / Natural light to create atmosphere 27
Light reveals shape, surface and color; it informs our individual perception of the world and provides us
3. Light as a non-physical boundary 29
with a common language.
4. Light as frame for art work 30
5. Light revealing texture / Light articulating surface 31
Light is integral to architecture; it reveals beauty, function and form. It defines the image, color and
6. Light as buffering method 32
texture of buildings, cities and landscape. It determines visual boundaries and our understanding of scale.
The built environment is designed not only to provide light, but also to be experienced in light. Whatever
we are doing in our lives, light plays a part. Light is a communication tool; light is energy; light is magic.
Conclusion 33
Light is life. Our world is Made of Light.

References 34
from the book ‘Made of Light’

01
Light is a source of our life. Light is constantly changing from dawn to dusk creating an infinite variety of
movement and effect. Intensity, focus and direction of light all change creating different contrast, textures
and color throughout the day.

When designing a built environment the sun is the most important element to consider. In our study in the
Interior Architecture department in RISD especially focusing on ‘Adaptive Reuse’, we have realized the
importance of strategy in using natural light as well as artificial light. The differences between natural light
and artificial light creates a great contrast in mood and atmosphere in the building. Therefore, lighting is
as important a factor as the basic walls and layout of the building.

So we are going to research the effects of lighting, both natural and artificial, in the built environment,
especially focusing on Contemporary Art Museums. We will also seek to widen the boundaries of daylight
including aesthetics, functionality, sustainablility, and the interaction between human beings and its
environment.

We chose six related projects as below.

1. Trapholt Art Museum-Boje Lundgaard, Bente Aude

2. Herning Art Museum-Steven Holl
3. Kolumba Art Museum-Peter Zumthor

02 03
1. Trapholt Art Museum-Boje Lundgaard, Bente Aude 1.2. Building Analysis

The main architectural element around which the museum is

1.1. Building Information designed is known as the Long Wall and it serves to divide the
grounds into an eastern and western section. A continuous, massive

The museum is located in Kolding, western Denmark on a unique sloping site that was once farmland. It is wall acts as the circulatory backbone of the complex, integrating

situated in beautiful natural surroundings, with overlooking the Kolding Fjord, Ocean. It’s divided into two museum and landscape as its sculptural form traverses the contours

planes. Vertically and horizontally. Vertically, it starts at the north parking space and ends at the ocean of the site. The interior of the Long Wall forms a hallway that serves

following the hallway of the museum. Horizontally, it starts at the entrance shop and ends at the furniture as a "museum walkway" and extends the entire length of the

exhibition space. The museum is organized around a spatial and circulatory sequence that begins at the museum. The west ends of the various exhibition rooms - which are

entry courtand culminates in the panorama over the fjord. all different in size, ceiling height and lighting meet up with this long
walkway.

Name: Trapholt Art museum

Established: 1988
Year Extended: 1996
Architect: Boje Lundgaard, Bente Aude
Museum Concept: Museum of Reflection
Location: Kunstmuseum Trapholt, Æblehaven 23, DK-6000 Kolding, Denmark
Collection Structure: Danish paintings and applied art, including ceramics. textiles and design
Exhibition area: 3085 square metres

Plan

04 05
When you entered the museum, you
encounter the space where the starting
point of hallway and the cylinder shape
connection to the underground exhibit
space. From our experiences to visit this
museum, we unconsciously move to the
cylinder space on the left, where huge
amounts of daylight was coming out.
Powerful light with dark hallway attracts
people to come into the exhibition space.

The way daylight is used is interesting in

that the museum is relatively dark and
the art pieces are highlighted by natural
light. This space therefore attracts people
with its well-lit environment. The round
large roof top opening lets in huge
amounts of daylight to attract people to
come into the exhibition space. Unlike
other areas where light is directed at a
specific object or condensed area. In this
space, people are led to view the furni-
ture exhibition along the wall while walk- lighting diagram
ing down the ramp.

06 07
 2. Herning Art Museum-Steven Holl 2.2. Building Analysis

2.1. Building Information

In terms of floor plan of exhibition space, it looks very
simple: Two rectangular shapes, divided with several
Herning is famous for its Danish textile industry and this museum was started by the owner of the shirt walls and these permanent and temporary exhibition
manufacturing company. Steven Holl got inspiration from the textile, especially shirt sleevs, as you see the gallery are surrounded by a 150-seat auditorium, music
images, the one-level-building and landscape look like it’s being weaved together. rehearsal rooms, a restaurant, a media library, adminis-
The Herning Center of the Arts unites, for the first time, three distinct cultural institutions: the Herning Art trative offices and an active landscape. However, by
Museum, the MidWest Ensemble and the Socle du Monde. The new Center is intended to be an innovative using Natural light which comes from the gap
forum combining visual art and music. in-between the flat and vaulted ceilings, he created a
dramatic and dynamic space.

Name: Herning Art museum

Established: 2009
Architect: Steven Holl
Museum Concept: A fabric theme is carried throughout the project , from the shape of the building which
resembles a collection of shirtsleeves viewed from above.
Location: Birkcenterpark 4 7400 Herning, Denmark
Program: Temporary exhibition galleries, 150 seat auditorium, music rehearsal rooms, restaurant, media Plan shows the lighting strategy based on roof structures

library and administrative offices

Collection
Viewpoint Structure:
from outside Danish and international conceptual and experimental Art from the 1960’s
landscape
Exhibition area: 5600 square metres

Section shows the lighting strategy based on roof structures Interior view

08 09
These images show the sequence of gallery
space and he tried to manipulate people to
experience crossing back and forth from positive
and negative space.This helps with the flow of
movement. Steven Holl used this kind of archi-
tectural light as a tool for activating the move-
ment of people inside.

10 11
3. Kolumba Art Museum-Peter Zumthor 3.2. Building Organization

The new museum building transfers existing fragments, Zumthor used the original plans, remains and an
3.1. Building Information
exterior wall of Böhm's chapel. He builds the new building on top of the remains, which physically hold up
the new building, and animates the ruins. So the new building becomes part of the architectural
The Gothic St. Kolumba church in the centre of Cologne had destroyed in WWII. Archaeologists started continuum. The warm grey brick of the massive building, nigh on 30-metre tall, unite with the tuffs, basalt
excavating the area of rubble in the 1970s. Apart from the church ruins dating from around 1500 and the and bricks of the ruins.
chapel of the "Madonna in the Ruins" which was built inside them by Gottfried Böhm in the 1950s, they E
have unearthed layers from the Late Medieval, Caroligian, Frankian and Roman periods. Now Peter The building is spreaded into north and
Zumthor has built an art museum over the archaeological site, the Gothic ruins and Böhm's chapel. east direction along the street and
Cologne lies on the River Rhine. The city's famous Cologne Cathedral (Kölner Dom) is the seat of the Catho- there is a courtyard in the middle of the
lic Archbishop of Cologne. Cologne is a major cultural center of the Rhineland and has a vibrant arts scene. building. The courtyard provides a
Courtyard
Cologne is home to more than 30 museums and hundreds of galleries. sense of openess within the solid brick
Bulding mass and create a intimate space

N where people could take a breath. I

Name: Kolumba Art museum believe it plays an important role in
Established: 1853 Kolumba church as the “Archiopiscopal Museum of the Diocese Cologne” Entrance Street terms of building organization where
Year Renovated: 2007 as Art Museum holds the movement of people
Site Plan
Architect: Peter Zumthor whereas other parts of exterior encour-
Museum Concept: Museum of Reflection ages people to walk along.
Location: Kolumbastraße 4, 50667 Köln, Germany_Cologne’s city center
Collection Structure: Single works of art in regularly changing dialogues
Exhibition area: 1600 square metres

12 13
 There are two entrances in the building on west
and south side of the wall. Zumthor used contrast
between light and shadow to draw people into the
space. The main entrance to the museum which is
larger than the other entrance is slightly inward
that create shadow during the day, so it clearly
shows where to enter as you walk towards the
building. The both entrances are made of glass so
it creates contrast with solid facade. The glass door
provides natural light to interior space so that
people could notify where the entrance is from the
inside. Artificial light at night comes out to outdoor
space which will tell people where to enter. The
smaller entrance on South side of facade is the
1 direct entrance to the ‘Room of Ruins.’
2

9 3
Room of Ruins

Foyer

Entrance N Main
En
to ‘Room of Ruins’ tra
nc
e
E

8 Main Entrance to
7 gallery 6 5 4

14 15
4. Punta della Dogana Contemporary Art Centre-Tadao Ando

4.1. Building Information

As you see this elevation drawing, originally this old
custom house solely depended on the side windows
The former customs house in Venice, the Punta della Dogana, is built in 17th century and it occupies one for lighting, and so the interior space is often not bright
of the city’s most prominent spots. For hundreds of years, the Dogana received precious cargo from enough. So he wanted to incorporate the use of
distant lands, but it had been vacant for about 30 years when French billionaire and art collector François skylights, “Skylight as an intervention strategy”. The
Pinault’s foundation won the right to transform it into a contemporary arts center. And Pinault chose Pritz- image below shows interior space of the central court
ker Prize—winning architect Tadao Ando for this project. and Ando used his symbolic architectural concrete
with traditional venetian floor(the so-called masegni)
in order to offer a token of the past. We can feel the
4.2. Building Analysis
richness of the materiality not just by material itself but
by textures and shadows with light.
As you see the floor plan on the left, originally the site footprint shape is triangular but in terms of the
interior space, it is divided into long rectangles by a series of parallel walls. With great respect for this
emblematic building, all partitions that had been added during previous renovations were thoroughly
removed in order to recover its original form. But Ando made one key exception to his intervention strat-
egy that he retaind one very large opening between two adjacent bays made during early renovation for
new ‘central court’. He wanted to insert this new central court open to the roof trusses and skylight above,
but enclosed by four 20-foot-8-inch-tall poured in-place concrete wall.
Through exposing the brick walls and wooden roof trusses, the space retrieved its energy and the memo-
ries of the former sea customs were revived. And also the skylight from the roof is not only making the
space lit but also being used as an artwork moving around with different shapes in the exhibition spaces.

16 17
 Image 1 Image 2 Image 3

18 19
5. Gallery of Horyuji Treasures, Tokyo National Museum-Yoshio Taniguchi

5.1. Building Information

The Gallery of Horyuji Treasures, one of the museum buildings in the Tokyo National Museum complex, is
surrounded by nature and cultural assets. The Horyuji collection was donated to the Imperial Household
by the temple in 1878, and the approximately 300 cultural properties became national property after
WWII. The old gallery building that once occupied the site served mainly to preserve the works in storage.
The new gallery building, which opened in 1999, was required not only to function better as preserving
the works but to permit the general public to view works on exhibit.

5.2. Building Analysis

These two contradictory requirements, permanent preservation and public exhibition, were met by
providing in the building two contrasting spaces; a dark central portion enclosed by a stone wall and a
brightly lit outer portion wrapped in glass. The louver is composed of solid steel structural members and
extruded aluminium mullions.

Image 1 _ A thick wall of concrete and stone prevents any outdoor light from entering the galleries and
storage spaces in which the works are permanently preserved.
image 2 _ The entrance hall also serves as a buffer zone protecting the exhibition and storage spaces.
Image 3 _ The research room and curatorial rooms, which require a pleasant environment, are situated on
the top floor. Here, natural light enters through a courtyard open to the sky, and a large window affords a
panoramic view of the woods of Ueno.

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6. Suntory Museum of Art-Kengo Kuma Light Analysis

6.1. Building Information With these case studies as a foundation, the properties and characteristics of light in a museum setting is
further examined and categorized in the following pages. Broken down into specific segments for a

The new Suntory Museum of Art located in the green-rich section of Tokyo Midtown was designed by the clearer understanding of the uses of light.

internationally renowned architect, Kengo Kuma. Based on a concept of "Japanese Modernism" combining
the traditional and contemporary elements of Japan, its exterior is finished with louvers of a white-
porcelain look that adds a sense of transparency to the appearance.

6.2. Building Analysis

The interior toned with wood and Japanese paper gives natural warmth with the soft light often found in
traditional Japanese settings, and creates a soothing and inviting atmosphere as a "parlor" of the city, the
architect's design goal. Like the deep overhanging eaves and paper screens of traditional Japanese dwell-
Image 1- Kolumba Museum
ings create a special, diffused quality of reflected light that creates of stillness and calm, Kengo used this
kind of properties of Japanese Architecture into his design ‘filtered light’. The gallery covering the 3rd and
4th floors provides approximately 1,000 m2 exhibition space, twice as large as what it was previously. The
10m high stairwell is equipped with a lighting control system inspired by an old-fashioned lattice window
design known as "musougoushi" and enables the complete blocking of sunlight if an exhibition requires.
Image 2

Image 3 Image 4 Image 5- Trapholt Museum

22 23
1. Light as manipulating movement

1.2. Use of circulation

The way light is utilized affects the movement of people within a space. In museums, however, the use of
dynamic, bright light is restrictred due to the pure nature of preservation. Therefore great emphasis is put
Staircases and ramps are
on the structure, form, and placement of light to manipulate movement. In museums, light is restricted
often deary necessities of a
into certain areas such as staircases, ramps, and open areas to provide change and needed rest. The form
building. As seen in the first
and structure of this light activate movement into these spaces while providing a break in the monoto-
image, this space is mun-
nous feel of the museum. The way that light is focused creates negative pockets of darkness and concen-
dane. However, the use of
trated areas of brightness that attracts people into the areas of light. In this way, people can be manipu-
lighting at the top of the
lated to move or directs attention to specific areas. In common areas like the staircase, attention can be
stairs emits a glow that
focused upwards with openings in the ceiling.
attracts people to look up as
illustrated in the image of a
1.1.Use of contrast
Image 1- Kolumba Museum Image 2
staircase at kolumba
museum on the upper right.
Contrast is the story of light and its counterpart, darkness. The absence of light is as critical to architecture
The use of round skylights
as its presence. Through the relationship between light and dark we are able to determine the form of
also brings abundant light
architecture by the manner in which space and surface is revealed. The degree of light and shade not only
into the room creating
informs the way we see but also the mod and expression of our environment. The act of working with light
warmth and a circular move-
requires an understanding of how to maintain darkness. This can be through the elimination of light or the
ment.
casting of shadows.

The images to the left illustrate the use of light in creating contrasting areas to manipulate movement. In
the top, left hand image, the kolumba museum uses a large window to project light into the space while
the foyer is shielded in darkness drawing attention to the foyer area. The next image is of an exhibition Image 3- Trapholt Museum Image 4

area of the museum. Unlike typical museums, this space exposes an entire wall to natural light, again
attracting movement into the areas of brightness. In the third and fourth images, light is focused into the
area, yet the source of light is hidden, creating interest in the direction of light. The last image is of the
trapholt museum. In the midst of the exhibition halls, a sunken garden was built to let in a flood of natural
light creating negative space in the outer horizon while forming contrast for an inviting oasis of rest in the 24 25
center.
 In the Kolumba Museum’s
2. Natural Light as an artificial light / Natural light to create atmosphere
“Room of the Ruins,”light
changes form with the
texture and pattern of the
Image 3- Trapholt Museum
walls. Keeping intact the
original structure of the
building, this room creates
Image 1- Kolumba Museum movement through the
intricate patterns, changing
Image 2
light into a texturized entity
Image 4
in the room. Outside the
museum is a 100-meter long Image 1- Trapholt Museum
curved garden wall with both
an architectural and sculp-
tural quality. The wall sepa-
rates the garden from the
parking lot while leading
visitors up towards the main
entrance. The spacings within
the wall allows light to pass
through for a rhythmic expe-
rience of light as people walk
Image 2 Image 5 alongside the wall.

Image 3- Kolumba Museum Image 4- Punta della

26 27
 3. Light as a non-physical boundary.
Natural light is the main source of lighting
for this gallery space. Directed into the area
from the ceiling and sides through wide
and abstract openings, it creates a unique
atmosphere that changes with the passing
of the sun. Light penetrates, filters and falls
into the space throughout the day creating
a remarkable changing interplay on the
different surfaces and textures. This light is
at the heart of the creative act., letting
people experience the rhythm of nature. Image 1- Herning Museum
The movement of light is a linear process
where time and space meet. Any moment
reveals frozen movement in time. People
have evolved to respond to daily and
seasonal changes brought about by the
movement of the sun. Through the passage
of light the change of day into night is
tracked as well as form and surfaces moving
Image 2 - Trapholt Museum Image 3- Kolumba Museum
in light. This might be people moving in and

Image 2 out of a beam of light or the sunlight catch-

Image 5
ing the folds of a structure (as in this
The images above illustrate the power of contrast used in various museums. The use of negative and
skylight). This movement does not neces-
positive light create division even without concrete barriers. Even though there is no physical divider, the
sarily imply physical redirection of light, but
difference in mood and color can be experienced in the same place. Therefore, light can be used as a non-
our ability to vary it thus altering our
physical boundary and a manipulating method for people’s movement.
perception of space over time.

28 29
4. Light as frame for art work 5. Light revealing texture / Light articulating surface

The way surfaces are rendered

In these examples,
by light reveals their very
light is framed to
nature. Appearance is
create an unconven-
governed by the angle and
tial view of art. It
direction of the light as well as
captures an image of
the nature of the surface. Light
a moment in nature
controls texture to varying
while forming a
degrees; where a material
relationship with the
transmits light, its internal
artwork on display.
Image 1- Trapholt Museum structure reveals the presence
As the scene
or absence of texture. Materi-
changes outdoors,
Image 1- Punta Della Dogana Museum als can be illuminated to show
as does the relation-
degrees of smoothness,
ship with the art
coarseness, grain, consistency,
displayed indoors.
weave or elasticity. Light itself
The light plays a role
has no texture, yet it can
of creating variety
appear to have texture by
and movement.
hitting particles in the air or
Everytime a person
manipulating surfaces.
views this display
creates a different
mood and image
with the changes in
light.

Image 2- Herning Museum Image 3- Santori Museum

30 31
6. Light as buffering method Conclusion
What differentiates engineering and architecture is that architecture can manipulate natural and man-
made materials for a unique creation of functional art. The most easily, yet dynamic manipulation of
nature is through light. All material in nature, the mountains and streams and air and people, are made of
light. How light reflects and casts shadows changes the image of all things. Therefore, it is light that
captures the imagination, stimulates, and excites. In museums, light is a sustainable, low cost source of
energy that influences the movement of people while directing attention to specific areas. Light can act as
a soft buffer and create feelings of warmth and rest. Light is readily available for even the tightest budgets.
Yet, the infinite variety of movement and the effects light creates with the passing of the sun makes light
a strong, dynamic source of beauty. Light can be manipulated in intensity, focus, direction, texture, and
Image 2
color creating contrasting moods and directing movement. In short, light can activate the movement of
people; light can create mood and color; light can focus attention; and light can form non-physical bound-
This museum uses filtered light to create a buffer
aries. The extent of the role of light is ever changing.
between the public and the artwork. In this sense,
light works as a physical entity. Ideally, art should
be stored in a dark, dry environment, which is
difficult in museums, where light is needed for
viewing. In this museum, these two contradictory
requirements, permanent preservation and public
Image 1- T Gallery of Horyuji Treasures exhibition, were met by providing two contrasting
Dark central portion Outer portion Outside spaces in the same area; a dark central portion
enclosed by a stone wrapped in glass nature enclosed by a stone wall and a brightly lit outer
buffering zone portion wrapped in glass. The louver is composed
of solid steel structural members and extruded aluminium mullions. I liked how this museum uses filtered
light to create a buffer between the public and the artwork. In this sense, light works as a physical entity.

32 33
References

Books

Henry Plummer, The Architecture of Natural Light, Thanmes & Hudson, New York, 2009

Mark Major, Jonathan Speirs, Anthony Tischhauser, Made of light; The Art of light and architec-
ture, Speirs and Major Associates, 2005

Maurice Merleau Ponty, Phenomenology of perception: Translated from the French by Colin
Smith, Routledge & Kegan Paul Ltd, 1962

Gaston Bachelard, The poetic of space: The classic look at how we experience intimate places,
Translated from the French by Maria Jolas with a new foreword by John R. Stilgoe, Beacon
Press, Boston, 1994

Steven Holl, Questions of perception: Phenomenology of architecture, William Stout Publisher,

San Francisco, 2007.

Steven Holl, The Chapel of ST. Ignatius, Princeton Architectural Press, New York, 1999

Deyan Sudjic, John Pawson Works, Phaidon Press Inc. New York, 2000

http://archidose.blogspot.com/2006/04/novy-dvur-monastery.html
http://www.johnpawson.com/press/monastery/arquine
http://matttyrnauer.com/magazinesart2break.htm
http://www.sacred-destinations.com/usa/seattle-chapel-of-st-
ignatius-photos/slides/IMG_7215.JPG
http://www.stevenholl.com/project-detail.php?id=40 34