The main concert was to provide a clear zone for the visitor to admire the painting from the closest distance possible. At the same time, the whole lighting scheme aimed at enhancing the contrast of the paintings, by recreating in some way the same atmosphere. So, the desired lighting solution had to merge those two ideas, and installing the light fittings in the ceiling didn’t seem to be the right option.
A study of the offending zone was now addressed versus a lighting solution from the bottom, and the result was a narrower zone, permitting to the visitor to come closer to the painting. This led to the development of a lighting system right in front of the painting, accommodating the light fittings and introducing light on the painting with an upwards direction.
This reduced not only the distance of the visitor but restricted significantly the general lighting, since the light on the painting was extremely controlled and directed only on the pieces. As a result, the overall atmosphere was very evoking, like the exhibited paintings.
Exhibition lighting has to respect certain visual requirements, but this doesn’t necessarily mean that there is no space for experiment and creativity. On the contrary, the exhibited art leads the way of how it should be illuminated, beyond the museum lighting norms.