Assessing museums’ daylighting adequacy without annual measurement campaign: Dataset of a confrontation between measured and simulated illuminance values inside the Cetacean Gallery of the Charterhouse of Calci

Abstract

Lighting Cultural Heritage is a complex task: light is necessary for the act of seeing, it can even enhance the visual experience [ 1 , 2 ], in addition proper lighting can significantly cut down energy consumptions [3] , but on the same time it has detrimental effects on exhibits, especially daylight. In order to safeguard the exhibits from damages, national and international standards provide specific recommendations for exhibits’ exposure, based on their photosensitivity category. These recommendations are the annual luminous exposure(LO) and the Maximum Illuminance Level (E max ), museums’ curators have to verify that the display lighting conditions comply with the standards. Historical buildings are often converted into museums but, as their original purpose was different, the lighting conditions are often inadequate (e.g. too much uncontrolled daylight), therefore the lighting conditions’ adequacy of the space should be assessed [4] . As the name suggest the annual luminous exposure requires an annual monitoring campaign, unfortunately it often happens that exhibits have been exposed incorrectly for prolonged periods, and therefore it is very important to evaluate the need of a fast intervention. In this casuistry a prolonged measurement campaign is not acceptable. Simulations can help running a great number of analysis while reducing the length and expenses of a measurements campaign, however their previsions must be validated. This paper provides the data acquired through measurements and simulations inside the Cetacean Gallery of the Monumental Charterhouse of Calci, near Pisa (Tuscany Region, Italy). The data comprehends horizontal and vertical illuminance measurements, recorded on December the 6th, and simulations run in Grasshopper with the plugins Honeybee+ and Ladybug . The data are related to the research article entitled “Application of climate-based daylight simulation to assess lighting conditions of space and artworks in historical buildings: the case study of Cetacean Gallery of the Monumental Charterhouse of Calci”, published on the Journal of Cultural Heritage [5] .

DESIGNING DAYLIGHTING FRAMEWORK FOR NORTHERN HEMISPHERE CLIMATE: STUDY OF ANALYSIS & RECOMMENDATIONS FOR ADAPTIVE EXPANSION APPROACH FOR LONDON CENTRAL MOSQUE, UNITED KINGDOM

“…However, this is totally different scenario experienced under low daylight ambient. During this situation, other sources of light are needed for illumination and the interior glazing will act like a mirror [1]. In fact, the privacy of human occupants will be slightly poor without the usage of blinds in the mosque area.…”

“…Such a luminance relationship inside the typical visual field should be regulated where visual work is involved to allow the retina to adjust to the ambient brightness in line with the task's own brightness [1]. By doing so, it is possible to lessen the requirement for constant readoption and the "shock" of extreme contrast when doing a task.…”

“…For instance, the mosque continues to organize an open-to-all COVID-19 immunization clinic. They also operate a food bank to assist the most vulnerable members of our communities, particularly during these trying times [1].…”

Teaching Lighting Design for Cultural Heritage in the Digital and Pandemic Era: Experiencing New and Old Techniques

“…Sometimes new luminaires' features can be created; the most advanced lighting techniques can be applied for obtaining smart and sustainable solutions. When indoor spaces are used as museums or for exhibition purposes, the visit tour plays a significant role in lighting decisions; furthermore, the use of daylight must be accurately evaluated [54,55] and, when possible, maintained and managed through proper control systems [56,57]. Those mentioned above are only some of the countless cases that can be a case study for a teaching program on cultural heritage.…”