박물관 · 미술관의 조명환경에 관한 연구 - 자연조명을 중심으로 -

서지정보

ㆍ발행기관 : 한국박물관학회 ㆍ수록지정보 : 박물관학보
ㆍ저자명 : 유보은

목차

Ⅰ. 머리말
Ⅱ. 자연조명의 개념과 요건
1. 자연조명의 개념
2. 자연조명의 요건
Ⅲ. 자연조명의 영향
1. 운영관리 측면
2. 관람환경 측면
3. 보존환경 측면
Ⅳ. 자연조명의 사례와 분석
Ⅴ. 새 국립중앙박물관의 자연조명의 문제점과 개선점
Ⅵ. 맺음말
참고문헌

한국어 초록

사람이 얻는 정보의 80% 이상이 시각에 의한 것이고 모든 사물은 빛을 매개로 사람에게 인식되
기 때문에 조명은 박물관과 미술관의 전시환경에서 매우 중요한 요소이다.
인간에 의해 인공조명이 개발되기 전까지 모든 조명은 자연조명1)에 의존되어 왔다. 따라서 박
물관과 미술관에서 효과적인 자연조명의 도입을 위해 행하는 연구와 노력은 인간이 지니는 근본
적인 요구에 부합하기 위한과정으로보인다.
한국에서는 1980년대 이후 대중 문화시설로 박물관과 미술관이 양적으로 급속히 성장하면서
전시환경의 쾌적함을 위해 자연조
명의 이용이 증가되었다 반면 서
구의 박물관과 미술관에서는 이에
대한 관심과 노력이 더 이른 시기
에 나타나 기원전부터 피나코테카
에서 자연조명을 이용하였고，
1581년 베네치아 우피치 갤러리에
서 자연조명을 효과적으로 도입하
면서 자연조명의 이용이 하나의 규
범화가 되기도 하였다 2) 효과적인
자연광 도입을 위한 연구 성과로
19세기 런던 국립미술관〈사진 D
과 루브르 박물관〈사진 2)은 천창
방식으로 자연 조명을 받아들여 창
문에 의해 발생하는 눈부짐이나 광
막 반사 등의 문제를 해결함으로서
효율적인 전시를 가능하게 하였다.

영어 초록

Humans acquire more than 80 percent of information by eyesight, which requires light to recognize
objects. That makes lighting for museums and art galleries one the of the most critical exhibition
conditions. Art lighting can be done with natural light or articial light. In Korea, where museums and
art galleries have grown in numbers as public entertaining facilities since the 1980s, natural lighting
has been more employed than artificial one to enhance exhibition conditions. However, natural lighting
has been cautiously adopted because it can damage art works and it is highly likely to fail without high
technology and ample funds.

As an environmentally-friendly factor for enhancing exhibition conditions, natural lighting for
museums and art galleries is employed not only in exhibition halls but also in transitional spaces like
passageways, lobbies and vestibules. Given the fact that sun light varies depending on the season and
daily weather, lighting designers should install devices that can control the amount of light. They also
should adjust the source of light to maintain the color temperature that determines the atmosphere of
artifacts. In addition, they should ensure that the color temperatures in one exhibition hall are balanced
and should know color rendition levels of artifacts depending on the source of light to allow the
artifacts to be exhibited in their natural colors. Moreover, they also should place devices that can block
ultraviolet rays from raising indoor temperature, from dazzling visitors and from damaging artifacts on
display.

Natural lighting has advantages in many respects. In terms of management, it significantly reduces
energy cost, especially in taransitional spaces like passageways and grand spaces like lobbies. In terms
of exhibition environment, it allows visitors to retain their sense of direction and keeps them from
feeling lost in a maze by enabling them to keep in touch with outside. In addition, natural lighting also
relieves visitors of eye fatigue. On the other hand, natural lighting can be employed in a way that
brings damage to a minimum: when natural light is employed only for artworks insensitive to light;
when illurnination levels are fixed according to the objects on display.

Natural lighting has been considered counter to conservation. However, it should be adopted
especially for transitional spaces to ameliorate exhibition conditions and for modern sculpture works to
let visitors view the artworks in different respects depending on changing light. Moreover, natural light
can be more efficient1y used if museum designers consider natural lighting from the early stage of
construction.

Museum visitors should not be deprived of their pleasure for the sake of conservation and artifacts
also should not be damaged for the sake of effective display. In short, effective display and
conservation should be balanced. In conclusion, natural lighting should be promoted for enhanced
exhibition conditions but also should be cautiously employed for the sake of conservation. In doing so,
further and deeper research should follow.

참고 자료

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