changing ‘passing clouds’ effect that both diffuses
the gentle Atlantic light and keeps it directional. ‘We
were able to use the technology to produce this cloud
effect and use the light in ways that were impossible
in the original 19th-century gallery,’ says Richard. ‘We
accept temporary light variations that are a charming
feature of the galleries and, more importantly, recall
the lighting conditions in the artists’ studios where the
works were painted.’
Cramp explains that, ‘we wanted to give all the spaces a
live ambience. A series of elements was used to deliver
sufficient diffusion but still plenty of characterful
light.’ He adds that the quantity of natural light is
controlled ‘with a soft touch’. On especially bright days
blinds gradually close to protect vulnerable works but
the gallery lighting more often follows the rhythm
of varying daylight at different times of the day and
the year. ‘Everything is controlled on a computer
programme. We do it in a way that allows variation but
the system is designed to do as little as possible. The
effect of light on pigments in particular is cumulative;
you have to look at it over time. What used to happen
Above: spotlights above the
translucent ceiling provide
ambient light at night.
Side galleries have additional
blinds to protect fugitive
artworks. The new undercroft
is entirely artificially lit
Opposite: a section through
the main gallery showing the
distribution of daylight
Overleaf: a concept sketch of
the museum shows the exterior
lighting which accentuates
Josso’s solemn architecture but
also glows invitingly from within
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