The indoor space is an important part of the architectural experience. Its functional meaning and aesthetic meaning are through the spatial relationship, the environmental composition, and the decorative form as the object of experience. The lighting design is the basis of all experiences and an important part of various elements.
The so-called experience foundation is mainly the function of lighting. There is no light to reach out and see the space, to understand the space, to identify the orientation, to appreciate the decoration, but it is easier to be ignored: the light itself constitutes the spatial relationship, defines the spatial attributes, and forms the decorative meaning. To meet the key needs of psychological needs. On the basis of the base light as the basic illumination, the light level is reasonably opened, the rhythm is reasonably arranged, and the key point is the important content and creation of the lighting design.
From the general visual experience, the components of the indoor light environment are mainly in the following aspects: the background formed by the basic lighting, the plane formed by the indoor furniture countertop, the exhibiting object as the prominent object, and the ground of the walking space. These aspects, because of their different positions in the light environment, have different roles, and require different lighting arrangements and targeted selection of light-emitting methods to achieve a good behavioral environment and psychological environment.
Guobo’s display space is large and the clearance is high. Relative to the "black box", the exhibition mode has a relatively bright overall environment, which opens up space for the gradient arrangement of the cloth. The illumination of the walls in the Guobo exhibition hall is set from about 10 lux to 20 lux. There will be a slight feeling of flickering and fainting, but it is this subtle change that reflects the important rules of the design and design of the exhibition space. : The best presentation of the exhibits.
The exhibits are the protagonists of the exhibition, and the perfect presentation and highlighting are the core values ​​of the lighting design. The principle of its design is to grasp the precise contrast relationship, and the background becomes the foreground lining. The foreground is the support of the exhibits, and the exhibits perfectly express the essence of culture. So the arrangement of all illumination depends on the grasp of the brightness relationship that is ultimately presented.
Relevant information shows that objects in the environment must stand out from the crowd and form an organic whole with their surrounding environment. It is necessary to accurately distribute the illuminance during the lighting process, in ambient lighting, accent lighting, sub-emphasis lighting. Create a reasonable gradient.
Generally speaking, when the brightness of the environment and the foreground object is 1:2, it is difficult to attract attention; when the contrast reaches 1:5, the primary and secondary relations appear; when it reaches 1:10, the contrast is very obvious; At 1:100, the object being illuminated will be separated from the environment, separating the relationship between the subject and the background.
In Guobo's lighting design, with the cultural relics as the core, combined with the protective lighting requirements, combined with the attributes of the exhibits, combined with the detailed features of the exhibits, the rigidity requirements of the exhibits and their surrounding brightness have been formed. In order to make the exhibits the center of attention, it is necessary to make an elaborate design of the brightness of the background. It can neither be too bright, robbing the foreground, nor too dark, so that the exhibits are separated from the environment. In particular, the Guobo exhibition is divided by time, not by the attributes of exhibits. It is possible that porcelain, bronzes and calligraphy are not too far apart, and the difference in brightness on the microscopic environment of exhibits is obvious. This requires a corresponding coordination of the brightness of the wall, taking care of the relationship with the foreground, but also consider the uniformity and rhythm of the light distribution across the wall. This is an exquisite fine-tuning process, and it is also a process of compromising various factors, especially due to the limitations of the site conditions, it is still very hard work.