Regarding the lighting of museums and art galleries, we believe that we need to consider the following aspects: First, we should choose suitable lighting equipment to protect the exhibits as much as possible to avoid light pollution and other damage; Second, museums and art galleries must have Good lighting design can effectively enhance the aesthetic and artistic atmosphere of the exhibition, and then fully realize the unique artistic charm of the light; thirdly, the lighting equipment of museums and art galleries should be as scientific and advanced as possible in terms of use and maintenance. It can provide museums and art museums with long-term effective operation management and practical modes. These three are inseparable and play a huge role in the lighting of museums and art galleries, affecting the sustainable development of museums and art galleries.
Based on the field investigation of the lighting status of 58 museums and art galleries in China, we analyzed the application status of LED in the lighting of museums/art museums in China, and looked forward to the prospect of LED light source application in museum/art museum lighting.
1 status survey
Our research work is divided into two parts: one is the research and inquiry part, and the three target groups are engaged in the research and inquiry of the subject research, which are the questionnaires for museums and art museums from the perspective of museum workers; From the perspective of design, the survey questionnaires are adopted for lighting designers, interior designers, and builders; from the perspective of manufacturing companies, there are three forms of survey questionnaires for lighting manufacturers. We have taken various forms of data collection and research, and the traditional paper and network inquiries have combined to form a work. At present, more than 80 questionnaires have been collected. The second is field test and interview work. We have selected influential national-level museums and key art galleries as the focus of research, taking into account the reasonable mix between different types of museums and museums in different regions and levels. Capture information with an objective and prudent perspective, without subjective creation and judgment.
1.1 Field research
On July 13, 2015, the field research work was officially launched in the National Museum of China. It has been in the past _ years and has carried out _ series of field research work. At present, 58 field research work has been carried out, including 43 museums, accounting for about one-half of the national first-level museums, and 15 art museums, including seven first-class art museums, accounting for the national key art museums. The two-thirds of the 13 companies cover 14 provinces, cities or regions (see Table 1).
We select a specific museum and art gallery for field research, mainly considering their regional distribution and different types of matching, mainly selecting national first-level museums and national key art museums as research objects. Mainly considering these museums and art galleries, regardless of their comprehensive strength or advanced technology, they have a typical and exemplary role in their research. Of course, the influence on the research of the subject will be more prominent. Of course, the actual results of the survey we sampled ultimately did not fully meet our expectations. For example, the Chinese Revolutionary Military Museum and the China Silk Museum cannot be field-sampled and researched due to recent renovations. In addition, there is a main reason why some museums and museums have insufficient knowledge of our research data collection. Fear of research data will affect the reputation of the unit, thus obstructing our research. There are also _ factors, that is, due to the preference of our cooperation units and individuals, the surveyed subjects also present the current research results in the selection and implementation plan. From Table 1 we can see that mainly in Beijing, Shanghai, Guangzhou, Jiangsu and Zhejiang, which also objectively reflects the museums, galleries and prosperity developed in these areas, in addition, also reflects these museums, art museums more advanced Sex and representation.
In the design of the field trip method, we mainly adopt the normative text to actually conduct research. The first is the design of the specification text. We have done three types of tables: 1) Test table schedules, mainly to explain the working methods. 2) Description of the test method, how to carry out the actual operation of the test content. 3) The list of conventional measuring equipment shall be recommended to the actual research unit for the use of professional equipment through the form of regulations and recommendations. In addition, we also designed a redesign of the survey questionnaire volume. Field research We will be exposed to professionals and practitioners who actually do museum lighting in museums. This part of the target group has special significance for our data collection work, and their inquiries and understandings are also the most direct and true objective reflection. Therefore, we need to know more about the details of the museum, and take more specific data to focus on the actual use of LEDs in the museum. Once again, our inspection specification text also designed an operational test table. The design of this content is mainly to guide the testers to collect specific information such as color temperature, illumination, reflectivity, illumination mode and so on. Specified collection. The final _ text is a uniform format text on how to conduct a comprehensive discussion of the research test report. The content is prompted from the amount of text to the overview framework structure.
Of course, for the habitual agreement content of the normative text, we have made a specific data collection comparison table in the design of the research text. On this basis, we have also added a more optimized design scheme for LED testing. 1) Comprehensive evaluation of color development: In addition to the traditional & (color rendering index) indicator, we also introduced the color rendering index test of 15 colors of the foot (and 1 and 15). In the later stage, we also introduced a comprehensive evaluation of the dual-index saturation CRf and fidelity CRg developed by the North American Lighting Institute (IES) on May 18, 2015. 2) Hot temperature rise test, 3) energy saving test, 4) visual experience evaluation and other more detailed test work.
1.2 Questionnaire survey
The initial questionnaire paid more attention to the brand issues of each enterprise. The feedback content design of LED application and application issues was not comprehensive and effective. After we held an expert meeting, we carried out the adjustment and adjustment of the program. After the revision and improvement, the research work was officially carried out. Both the online questionnaire and our field enquiry volume go through these two forms of modification and adjustment. We created QR codes and web questionnaires to collect test papers from multiple sources. From the feedback results, we can see that the number of questionnaires collected for the three target groups is roughly balanced, which basically covers the basic problems we are studying.
Table 1 Information about museums and art galleries Table 1 The information of the Museum and Gallery
Our research is mainly about the collection of relevant information on the "Status and Prospects of LED Application in Museums and Art Museums". The collection of big data information is indispensable, and it is only necessary to cover the relevant population. Therefore, we target different target groups for classification design, and carry out comprehensive information research coverage from the three target groups of museums, art museum LEDs, design users and production enterprises. The content design is as simple as possible and directional. There are questionnaires specially designed for in-house personnel from museums and art galleries. The main purpose is to understand the basic situation of the museum and to look for special characteristics and differences. In addition, in the design of questionnaires for designers, such as lighting designers, interior designers, architects, etc., the goal is to understand the LED usage and feedback information in the actual work from the application field of the designer. Finally, the questionnaire design for museum and art gallery lighting manufacturers mainly understands the production and sales of LEDs. Through the survey of these design questionnaires, we can clearly find that the LEDs of these target groups are different. Production companies are more aggressive, and designers and museums generally reflect a relatively conservative side. In addition, the awareness and attention of lighting design in museums and art galleries is not as much as that of designers and companies. There are significant differences in the content that everyone cares about.
1. 3 survey results
The results of our final project record confirmation were that 43 museums were interviewed and 15 art galleries were interviewed, and a total of 58 were included in the survey. In addition, more than 80 online data research materials were received. Among them, 41 designers and 18 lighting manufacturers participated in the big data survey.
In terms of geographical distribution, the distribution of museums and art galleries participating in the survey is uneven: the museums participating in the survey are mainly distributed in two provinces (municipalities) in the eastern region, with a total of 12, accounting for the total number of participating museums. 20. 69%. The number of the four provinces (municipalities) in the northern region is 25, accounting for 43.10% of the total number of participating museums. There are 6 provinces in the southern region, accounting for 10.34% of the total number of participating museums. There are 3 provinces in the southeastern region, accounting for 5.17% of the total number of participating museums. There are 4 provinces (municipalities) in the southwestern region, and the number of participating museums is 6.90%. There are 4 provinces in the central region, accounting for 6.90% of the total number of participating museums. The number of provinces in the northwest region is three, accounting for 5.17% of the total number of participating museums. There are 1 Hong Kong, Macao and Taiwan regions, accounting for 1.73% of the total number of participating museums.
1) Main problems of LED application level in museums and art galleries: Some museums have research feedback, and the light decay of LED light source applied is very powerful. In less than three months, the light intensity is obviously weakened compared with the initial installation. Even if it is not bright, these are closely related to the quality of light sources, lamps, and accessories, especially the type of track, the configuration of electrical appliances, and the choice of dimming system. The end result of the use. There is no doubt about the future use of LEDs, but only _ energy saving is known. There is no uniform application and inspection standard in the field of professional lighting. As a user, the inspection of LEDs is more blurred. They hope to have a more complete standard to measure. To avoid the impact of various non-standard products on the later use, especially the professional lighting field of the museum art museum.
2) The main problems of the manufacturer's technology research and development level: Many manufacturers especially catch up with the construction period blindly. In terms of product quality, the quality control is not controlled, resulting in the shoddy production in the absence of LED standards in the country, resulting in a large number of inferior products flowing into the application side. Museums and art galleries are on display. In addition, there are technical problems, especially the non-universal problems of the guide rails are prominent. Some manufacturers even have their own products, and the guide rails are not universal. The guide rails like the traditional light source and the guide rails of the LED cannot be used by themselves. In addition, many domestic manufacturers lack the research and development of professional products in museums and art galleries. They are not single varieties, but they are too big and lack the awareness of fine processing design. Although our product quality and light distribution technology are very different from the same type of products abroad, the light is greatly reduced in terms of visual effects and appearance. In addition, the problem of strict quality control is also very prominent, the heat dissipation problem, the problem of the chip's _, the control range of the color tolerance, and so on, there is no strict quality control products naturally have no good light effect.
3) The main problem of the designer application level: LED is a new type of light source. Many designers use the LED light source to adapt and retire when lighting design for museums and art galleries due to habit problems and personal preferences. It still takes a period of time to change, especially since the designers who have tried to design with LED light source earlier, the late owners' application problems and feedback maintenance problems have caused them to taste the pain, and some designers have refused. LED new light source for the current design task. Of course, the rejection of it is also reflected in the parameter selection of the luminaire: the traditional halogen lamp has stable spectrum, the luminaire is separated from the light source, and the color temperature and color rendering index of the light source are relatively fixed. The new light source of LED, the luminaire and the light source are mostly physique, and the selection range of color temperature and other parameters is numerically complicated, which is slightly complicated and changeable. In addition to the need to increase the knowledge of the new technology expertise of LED products in time, more is To meet the applicability problem of different places, only a reasonable use and just the choice of the parameter configuration of the LED light source can achieve a satisfactory design effect.
2 status analysis
Among the 58 museums and art galleries we interviewed in the field, most of the lighting design was undertaken by the exhibition company, and less than 10 lighting designs were carried out separately. The number is less than 1/6. If the figure is put into the total of 4,516 museums and art galleries across the country, the proportion will be much smaller. Due to the lack of funds for most small and medium-sized museums and art galleries, the cost of professional lighting design will increase. Therefore, in terms of cost saving, this part of the investment is basically omitted. According to feedback from the museum, there are very few people who understand lighting design inside museums and art museums. 30% of the surveyed units reflect that they have professional lighting designers, and the technical services provided by exhibition companies and lighting companies can provide Corresponding technical requirements. However, we have further in-depth understanding of the details. This part of the practitioners is basically responsible for this part of the work by the electrician who understands electricity. There is still a big gap in the design level required by museums and art galleries. Strengthen the overall training of the quality of personnel in this area. In addition, in the daily maintenance of lighting fixtures, the research situation is basically replaced by the damage of lighting fixtures. Many museums and art galleries have not reserved future maintenance fees for lighting fixtures even at the beginning of the opening design. The problem of damage in the operation of the company can only be found in the management fees of the entire museum. It is often difficult to get the funds for the daily maintenance of lighting products. This also makes us find that many museums and art galleries in the field investigation are broken. The real reason for timely replacement. If the museum or art museum does not carry out recent exhibitions or major infrastructure renovation projects, there is basically no budget to take a large number of new LED light source replacement capabilities, only a small part of the small-scale replacement, most of the time is also out of If you can't buy a traditional light source or accessory, you can choose the LED light source. _ Passively replace the elimination work. There is no plan and scientific law at all. In the future, there will be many museums and art galleries. In the daily maintenance of lighting fixtures, the trend of passive replacement into LEDs will become more apparent.
In terms of the overall investment in lighting equipment, most of the investment is less than 500,000 yuan, while the large-scale (20 001 ~ 50 000 m2) museums and art museums are mainly invested within the capital of 100-500 million yuan. For museums and art galleries of quality lighting, in addition to a few national-level mega-museums and art galleries, there is basically a problem of insufficient capital investment. In addition, in researching the collection channels of museums and art galleries, 40% of the units surveyed by the surveyed units purchased the lighting equipment in the form of government procurement, while other units under investigation adopted other forms of procurement, especially those who used imports. Units of lighting products, due to the current directionality of our national policies, the pursuit of high-quality lighting in museums and art galleries is keen on imported products, which increases the difficulty in purchasing power and can only seek other channels to purchase imported products. Of course, LEDs are developing rapidly in the professional fields of domestic museums and art galleries. Many joint venture brands and state-owned enterprises are playing a huge potential role in the lighting field of museums and art galleries. I believe that more brands will enter our own brands.
The government procurement list is for us to choose.
In terms of reference standards for lighting design in museums and art galleries, 25% of the surveyed units filled in the design according to the GB/T 23863-2009 Museum Lighting Design Specification, and 10% of the surveyed units referenced GB/T 23863. —2009 The Museum Lighting Design Code and JGJ 66-91 The Museum Building Design Code. Other surveyed units have indicated that they have referenced a number of standards, and another 10% of the units surveyed have even unclear standard reference issues. It can be seen that in the lighting design and construction of museums and art galleries in China, the museum is basically in a blind state, lacking the necessary targeted management and normative guidance. At present, China's current museum normative text is only GB/T 23863-2009 "Museum Lighting Design Specification" and JGJ 66-91 "Museum Architectural Design Code". There is a lack of separate standard texts in the art gallery. Obviously, we are limited to the current application of these two texts as museums and art galleries, and obviously have fallen behind the current advancement and development of LED technology. Through this survey, we can clearly reflect from the results of field research that LED products have been widely used in museums and art galleries in China, especially in new and renovated museums and art galleries. The application of technology has come to the forefront of development, all of which use LED products, and some also use intelligent control technologies such as DAL system, such as the newly opened several exhibitions of the National Palace Museum and the central axis palace lighting renovation project, Nanjing Museum New Exhibition The Chen project and the Shanghai Art Museum lighting have basically adopted the most advanced LED technology. Therefore, our research and research objectives are still locked in the collection of the latest application of LED technology.
3 Conclusion
The current development of LED technology is unstoppable. Many traditional museums and art museums have begun to be discontinued or transformed. In the near future, many museums will face the risk of being unable to replace traditional light sources. Therefore, 1) we need to gradually use the new LED products, it is also a natural choice, do not try to change or reject it. 2) Our museums and art galleries are best to replace traditional light sources in a step-by-step manner. Currently, China is not suitable for large-scale comprehensive promotion of LED light sources. It is not yet time to replace traditional light sources. Technological progress and technological development are still in progress, and it is clear that it has not yet reached an ideal stage of stability, and the variables are still very large. 3) Establish and improve a light environment assessment system in museums and art galleries.
Due to time constraints, many of the details of our research work can not be completed in a short period of time. Many problems have yet to be embarked on. More regrets and missing problems are still difficult to solve. Therefore, our research group strongly appeals: In the museum and art museum industry, the research on professional lighting needs to be paid enough attention, it is best to stimulate and improve the newly established functional department in the industry to coordinate and supervise the work, and will be a museum across the country. The professional lighting work of the art museum is often managed. Only in this way, we believe that we can protect our exhibits more effectively and continuously, and we can use institutional means and regulatory mechanisms to constrain our work and develop towards the norm. In addition, we hope that relevant departments and leaders can have a new understanding of the lighting design of museums and art galleries through our research, which will trigger more interested colleagues to enter the research field of museums and art galleries. , production and development of more suitable products for museums, art museum applications.
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