Lighting Design inKolumba Art Museum
Located in Cologne, Germany, Kolumba Museum is designed by the Swiss architect Peter Zumthor. The ingenious apply of light and air principles indicate the aura of the magnificent architecture. Although it is extremely outstanding in terms of the art and aesthetics, Kolumba ArtMuseum is strictly parallel to the street as the surrounding buildings. What’s more, the roof outline is clear and bright.Light leakage infiltrates from the close aperture and the interior of the architecture is overalldim (Mueller, 2013).The roof in the hallcan't even be identified. With an atmosphere of fine spot on the wall,the light spot and shadow areoccupied inside the hall. Not only natural light plays an essential role in the illumination, but also great importance is attached to artificial light. Between natural lighting showrooms and artificial lighting showrooms, there exists 40 mm high floor elevation difference, as if to remind people of the fantastic occasion when they are shuttling between reality and history.
2.0 Critique of the effectiveness of the current lighting
2.1 Effects in terms of Lighting Design and Spatial Vision
Thedesign of open brickwork makes full use of the photometric diffraction. Flat gray bricks can be utilized as the light permeable membranes. Part of the natural light can strike the interior of the architecture because of the obstacles.Overhead light compensates for the light leakageinsufficiency. Extra hazy light has the opportunity to get into the towering space in turn. This measure ensures that when looking from outside to inside, visitors do not see any man-made light. Besides, the large scale space and soft lighting creates the meditation which is the same as the atmosphere and tone of the cathedral.In possession of carefully selected materials, the hollow brick walls create the light and shadoweffects, which provide the show space of religious and earthly works of art with delicate and splendid atmosphere. As a matter of fact, some strong materials play a dominant role in the hold of the historic art museum. But these materials do not correspond with the through aesthetic tone of the architecture. To resolve the difficulty of the collision of old and modern technology, outsourcing concrete materials are made most use of. As a consequence,Kolumba Art Museum is made of tough materials on its exterior, but gives way to a more refined and enriched interior. Moreover, the jacketed walls are utilized to hide the air conditioning. Material texture that adheres to the whole style of the art museum can be focused on as a result.
2.2 Effects in terms of Color Vision
Thin and long shallow yellow bricks add to tranquility for the antique museum. In order to make a contribution to the layered look, structural fractures are taken into consideration to separate the terrazzo floors and the walls of the hall. Terrazzo floors are radiant with downy hue, making the dim art museum more harmonious in the terms of color vision. Made up from clay materials, the visual effects of the metes the same as delicate fabric, whose color are velvet matte. The tone of gray bricks merges withground, wall and ceiling. The aesthetic proportion of everything is arranged properly. Extremely fancy beauty leaves the visitors with the impression of fantasy.
2.3 An Alternative Approach
To some extent, the visibility of the indoor environment can be promoted by theoverhead light. Since the overhead light usually lit up the horizontal plane, some artworks hung on walls are likely not to be observed clearly. Thus, more windows or wall lamps can be designed to increase the visibility on the vertical plane. In order not to undermine the monolithic beauty and expose the structural frame, the artificial light can be set at the surrounding of the frame, only to intensify the visibility of the works of arts.
Architectural space is not rigid, but a vivid language. Kolumba Art Museum, Cologne, Germany, designed by talent Peter Zumthor, is undoubtedly well known for not only its material presence but also the dignified handling of the past(Dietz&Schürmann, 2006). This essay talks about the beauty and effects of each individual material. Moreover, the remarkable application of light and various architecture materials does not fail to impress the appreciators. While the shadows and light effects in the museum rooms are in possession of some deficiencies as well. Some measures taken by the designers are referred to, and other alternative approaches are discussed in the essay.
Dietz K.&Schürmann A.(2006).Foundation Improvement of historic buildings by micro piles, Museum Island, Berlin and St. Kolumba, Cologne.Schrobenhausen:7th ISM workshop.
Mueller H.(2013).Energy efficient museum buildings.Renewable Energy,49,232-236.