1、ANSI/IES RP-30-17Recommended Practice for Museum LightingANSI/IES RP-30-17 Recommended Practice for Museum LightingPublication of this Recommended Practicehas been approved by IES.Suggestions for revisionsshould be directed to IES.Prepared by:The Museum and Art Gallery Lighting Committee of theIllum
2、inating Engineering Society of North AmericaANSI/IES RP-30-17Copyright 2017 by the Illuminating Engineering Society of North America.Approved as an American National Standard January 1, 2017.Approved by the IES Board of Directors, January 9, 2017, as a Transaction of the Illuminating Engineering Soc
3、iety of North America.All rights reserved. No part of this publication may be reproduced in any form, in any electronic retrieval system or otherwise, without prior written permission of the IES.Published by the Illuminating Engineering Society of North America, 120 Wall Street, New York, New York 1
4、0005.IES Standards and Guides are developed through committee consensus and produced by the IES Office in New York. Careful attention is given to style and accuracy. If any errors are noted in this document, please forward them to the Director of Standards and Research, at the above address for veri
5、fication and correction. The IES welcomes and urges feedback and comments. ISBN # 978-0-87995-340-9Printed in the United States of America.DISCLAIMERIES publications are developed through the consensus standards development process approved by the American National Standards Institute. This process
6、brings together volunteers representing varied viewpoints and interests to achieve consensus on lighting recommendations. While the IES administers the process and establishes policies and procedures to promote fairness in the development of consensus, it makes no guaranty or warranty as to the accu
7、racy or completeness of any information published herein.The IES disclaims liability for any injury to persons or property or other damages of any nature whatsoever, whether special, indirect, consequential or compensatory, directly or indirectly resulting from the publication, use of, or reliance o
8、n this documentIn issuing and making this document available, the IES is not undertaking to render professional or other services for or on behalf of any person or entity. Nor is the IES undertaking to perform any duty owed by any person or entity to someone else. Anyone using this document should r
9、ely on his or her own independent judgment or, as appropriate, seek the advice of a competent professional in determining the exercise of reasonable care in any given circumstances.The IES has no power, nor does it undertake, to police or enforce compliance with the contents of this document. Nor do
10、es the IES list, certify, test or inspect products, designs, or installations for compliance with this document. Any certification or statement of compliance with the requirements of this document shall not be attributable to the IES and is solely the responsibility of the certifier or maker of the
11、statementANSI/IES RP-30-17AMERICAN NATIONAL STANDARDApproval of an American National Standard requires verification by ANSI that the requirements for due process, consensus, and other criteria have been met by the standards developer.Consensus is established when, in the judgment of the ANSI Board o
12、f Standards Review, substantial agreement has been reached by directly and materially affected interests. Substantial agreement means much more than a simple majority, but not necessarily unanimity. Consensus requires that all views and objections be considered, and that a concerted effort be made t
13、oward their resolution.The use of American National Standards is completely voluntary; their existence does not in any respect preclude anyone, whether that person has approved the standards or not, from manufacturing, marketing, purchasing, or using products, processes, or procedures not conforming
14、 to the standardsThe American National Standards Institute does not develop standards and will in no circumstances give an interpretation to any American National Standard. Moreover, no person shall have the right or authority to issue and interpretation of an American National Standard in the name
15、of the American National Standards Institute. Requests for interpretations should be addressed to the secretariat or sponsor whose name appears on the title page of this standard.CAUTION NOTICE: This American National Standard may be revised at any time. The procedures of the American National Stand
16、ards Institute require that action be taken to reaffirm, revise, or withdraw this standard no later than five years from the date of approval. Purchasers of American National Standards may receive current information on all standards by calling or writing the American National Standards Institute.Pr
17、epared by the IES Museum and Art Gallery Lighting CommitteeScott Rosenfeld, ChairKaitlin Page, Vice ChairB. Besmanoff*C. Betts*D. Bobeck*J. Cody*J. ConcepcionG. Costa*W. EllisM. FinkF. FlorentineM. FranksD. Gelman*R. Grenald*J. Hickman*P. HimmelsteinJ. Hocquard*R. Jellow*K. KaneA. Kanellias*S. KayeA
18、. Lyons*D. McDaniel*W. OConnell*M. OConnor*C. Paugh*T. Peak*T. Perrin* E. PierceG. Plank*F. Barnes*K. Raidy*R. Renfro*J. Richards*S. RosenA. RuedafloresR. RummelS. Schmidt*R. Snow*M.TanteriJ.Tobon*M. ToiyaS. WeintraubD. Wilburn*M. Zukerman* AdvisorySpecial thanks to David Adcock for Annex G.Special
19、thanks to non-committee members Chris Cuttle, Wendy Davis, Naomi Miller, Yoshi Ohno, Tess Perrin, and Michael Royer.ANSI/IES RP-30-17 is dedicated to William F. Blitzer, Anthony Donato, and Marvin Gelman.ANSI/IES RP-30-17ANSI/IES RP-30-17Please refer to the IES Bookstore after you purchase this IES
20、Standard, for possible Errata, Addenda, and Clarifications, www.ies.org/bookstore.ContentsForeword: Museums By Howard Brandston 11.0 Introduction to Museum Design .11.1 Integrated Design .21.1.1 Collaboration with Museum Professionals 21.1.2 Collaboration with Architects, Engineers, Media Designers,
21、 and Contractors.22.0 Museum Categories and Criteria For Lighting Design Success .32.1 Types of Museums and Art Galleries .32.2 Criteria for Successful Museum Lighting43.0 Controllable Qualities of Light .43.1 Illuminance (And Related Properties).53.1.1 Illuminance Criteria63.1.2 Luminance 73.1.3 Ir
22、radiance .73.2 Light Distribution .73.2.1 Luminaire Photometry .93.2.2 Controlling the Distribution of Light 103.2.3 IES Method for Creating Focus .113.3 Color.133.3.1 Color Assessment Factor 1: The Effect of Illuminance on Color Appearance 143.3.2 Color Assessment Factor 2: Chromaticity .143.3.3 Co
23、lor Assessment Factor 3: Color Rendering 183.3.4 Visual Assessment of Color Quality 213.3.5 Conclusion .233.4 Movement 233.5 Angle 243.5.1 Modeling of Three-Dimensional Forms .243.5.2 Location of Luminaires 243.5.3 Lighting the Background 273.5.4 You Cannot Light a Mirror .273.5.5 Sparkle and Nuisan
24、ce Glare .283.5.6 Direct Glare 283.5.7 Veiling Reflections (Reflected Glare) .293.5.8 Spatial Brightness Appearance .293.5.9 Glare Summary .293.6 Controllable Qualities of Light: Summary 29ANSI/IES RP-30-174.0 Preservation of Light-Sensitive Materials.294.1 Damage Factor 1: A Materials Susceptibilit
25、y to Light 304.1.1 General Susceptibility to Damage Based on the SPD of the Light Source 304.1.2 Relative Rate of Damage Based on the Extent of Previous Exposure .314.1.3 Relative Rate of Damage over Time, Based on the Light Sensitivity of an Object 314.2 Damage Factor 2: The Concentration of Irradi
26、ance on The Surface of a Material324.2.1 Illuminance .324.3 Damage Factor 3: Duration of Exposure and The Principle of Reciprocity .334.4 Damage Factor 4: The Spectral Power Distribution of Light Sources (UV, IR, and Visible) .344.4.1 Ultraviolet (UV) Radiation344.4.2 Infrared (IR) Radiation and The
27、rmal Management 354.4.3 Spectrum of Visible Radiation 364.4.4 Specific Susceptibility to Damage Based on Light Source Spectrum 374.5 Preservation of Light-Sensitive Materials: Summary .385.0 The Lighting Design Process.385.1 Lighting Concept: Pre-Design Phase 395.2 Schematic Design: Assessment Phase
28、 405.3 Design Development: Defining Solutions Phase.415.4 Construction Documentation: Final Design Phase .415.5 Contract Administration: Commissioning and Installation Phase.415.6 Project Completion: Reflection on Design and Lessons Learned.426.0 Typical Lighting Solutions For Museum Exhibitions426.
29、1 Flat Objects On Vertical Surfaces .426.1.1 Wall Wash .436.1.2 Spotlights 446.2 Large-Scale Three-Dimensional Objects .446.2.1 Minimizing Glare.446.3 Exhibit Cases456.3.1 Built-In Cases.456.3.2 Freestanding Cases: General Considerations 466.3.3 Freestanding Glass Cases: Four-Sided Plus Solid Top.46
30、6.3.4 Freestanding Glass Cases: Four-Sided Plus Glass Top (Five-Sided) 466.3.5 Grand Cases .476.3.6 Mini-cases .476.3.7 Table Cases with Flat Tops 476.3.8 Table Cases: Lectern Type.476.3.9 Wall Cases .476.3.10 Common Elements of Display Cases.476.3.11 Case Checklist 486.3.12 Case Reflections 49ANSI/
31、IES RP-30-176.4 Dioramas .52 6.4.1 Concealed Lighting Locations 536.4.2 Dual Lighting .536.5 Typical Lighting Solutions: Summary537.0 Luminaires, Light Sources, and Accessories537.1 Basic Types of Luminaires Used for Direct Lighting .547.1.1 Lamp-Based Performance Luminaires547.1.2 Integrated Perfor
32、mance Luminaires547.2 Incumbent Source vs. Replacement or Retrofit Source .557.3 Luminaire Construction And Safety .557.4 Efficacy, Efficiency, and Life .557.5 Flicker567.5.1 Measurement of Flicker .577.6 Museum Lighting Applications and Techniques: Relationship to Luminaires.577.6.1 Special Effects
33、 Lighting .577.6.2 Safety and Security with Track Lighting.587.6.3 Picture Lights .597.7 Luminaire Accessories597.7.1 Glass Spread Lenses and Beam Softeners597.7.2 Dichroic Glass and Narrow B Filters .597.7.3 UV and IR Filtering.607.7.4 Filters, Color Filters, and Thin Film Diffusers.607.7.5 Glare C
34、ontrol .607.7.6 Beam Manipulation and Pattern Projection 617.8 Track Lighting .627.8.1 Codes and Safety Requirements for Track Lighting Systems 627.8.2 Track Systems 627.9 Fiberoptic Systems.648.0 Daylighting the Museum Environment .658.1 Daylight in Architectural Lighting Design 658.1.1 Sunlight .6
35、58.1.2 Sky Light.658.1.3 Reflected Light from Sun or Sky 668.2 Energy and Damage 668.2.1 Light and Ultraviolet (UV) Energy668.2.2 Non-Visible Spectrum (IR) .678.3 Daylighting Design in Museums 678.3.1 Daylight as Object Illuminant .678.3.2 Daylight as Architectural Illuminant 678.3.3 View Provision
36、688.3.4 Visual Comfort 688.3.5 Energy Savings .68ANSI/IES RP-30-178.4 Daylighting Techniques and Typologies688.4.1 Sidelighting.688.4.2 Toplighting .698.4.3 Combinative Strategies .718.4.4 Shading Devices 718.5 Performance Metrics718.5.1 Object Illuminance and Luminance 718.5.2 Values Used to Assess
37、 Damage or Risk: Maximum Instantaneous Value 728.5.3 Values Used to Assess Damage or Risk: Cumulative Value .728.5.4 Values Used to Assess Damage or Risk: SDF Curves .728.5.5 Recommended Ratios and Maximum Value .728.5.6 Glare738.5.7 Damage Concerns .738.6 Color Metrics 738.6.1 SPD, Chromaticity, an
38、d Correlated Color Temperature (CCT) .738.6.2 Color Rendering Index (CRI) .738.7 Documentation and Testing738.7.1 Daylighting Specifications .738.7.2 Programming and Verification 778.7.3 Commissioning778.7.4 Operational Issues .779.0 Lighting Control Systems789.1 The Lighting Design and Lighting Con
39、trols Team789.1.1 The Lighting Designer 789.1.2 Lighting Control Systems Integrators.789.2 The Design and Engineering Process .789.2.1 Lighting Control Protocols .789.2.2 Developing System Specifications .799.2.3 Submittals799.3 Types of Lighting Controls 799.3.1 Switches, Wall Box Dimmers, and Cont
40、actors799.3.2 Circuit-Level Automated Controls799.3.3 Integration of Lighting Controls with Other Systems .799.4 Control System Fundamentals and Hardware Elements 809.4.1 Sensors .809.4.2 User Interfaces with the Lighting Control System .809.4.3 Control Locations 819.5 Matching Power Control Equipme
41、nt with Light Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . 819.5.1 Controlling Incandescent Lamps 819.5.2 Controlling Fluorescent Lamps819.5.3 Controlling Metal Halide Lamps .819.5.4 Controlling LEDs 81ANSI/IES RP-30-1710.0 Lighting Design, Economics, and Maintenance8210.1 Designe
42、rs Insight 8210.2 Maintenance 8210.2.1 Maintenance Checklist 8210.2.2 Access to Service Luminaires 8210.3 Lighting Budgets and Economics.8210.3.1 Factors Related to Direct Cost of Light .8210.3.2 Initial Equipment Investment Analysis 8310.3.3 Life Cost Cycle Benefit Analysis 8311.0 Sustainable Light
43、ing Design for Museums and Art Galleries.8311.1 Environmental Impact.8311.2 Human Health Impacts 8311.3 Sustainable Design Process .8411.3.1 Programming and Schematic Design.8411.3.2 Design Development and Construction Documentation 8411.3.3 Construction and Commissioning8411.4 Sustainable Lighting
44、in Museums and Galleries.8411.5 Strategies for Sustainability .8411.5.1 Light Source Selection 8411.5.2 Automated Controls 8511.5.3 Life Cycle Analysis .8511.5.4 Proper Disposal .8511.6 Other Resources .85Annex A IES Recommended Illuminance Targets . . . . . . . . . . . . . . . . . . . . . . . . . .
45、 . . . . . . . . . . . . . . . 86Annex B IES Illuminance Recommendations for Specific Applications .89Annex C Sensitivity of Colored Materials to Light and UV Energy . . . . . . . . . . . . . . . . . . . . . . . . . . 105Annex D Flow Chart for Managing Light-Sensitive Materials.107Annex E Control Pr
46、otocols 108Annex F Light Measurement Tools and Techniques 110Annex G Lighting for Special Events in Museums and Art Galleries 111Annex H Fundamental Factors of Artifact Visibility 113Annex I Electric Light Source Considerations.114Annex J Sample Luminaire Schedules .119Annex K Lighting Calculations
47、.120Annex L Museum Terms.124Annex M General Lighting Terms .125End References .140ANSI/IES RP-30-171ANSI/IES RP-30-17FOREWORD: MUSEUMS BY HOWARD BRANDSTONA museum is the chronicle and exhibition of humans and their world. It has a public trust to allow us access to our heritage. In providing this ac
48、cess to everyone, the design of a good museum should be analogous to the art itself.Museums are not meant to be vaults in which to store art. Indeed, they are places where art is revealed, not hidden. These revelations allow the visitor to expand upon his or her personal, percep-tual, and emotional
49、responses. Such individualized responses refresh the soul, awaken the spirit, and feed the creative impulses so essential to a person-alized sense of self-worth.A museum is not one space. It is an itinerary through a sequence of spaces. It is the responsibility of those who design museums to ensure that such spaces will generate rather than drain energy, that they will help the visitor appreciate the exhibit, linger, learn from it, take refuge in it, enjoy it, return to itagain and again.A walk through a maze of uniformly lit, monotonous corridors will induc
