The history of museum daylighting

A philosophical school

The home of the Hellenistic era is considered to be Alexandria. In the Hellenistic era, Mouseion functioned mainly as centres of artistic and scientific research. This attracted many Greek scholars that arrived at the Mouseion of Alexandria to work and study.

Architecture and daylight

Our knowledge of the ancient Mouseion is derived from ancient texts. The university consisted of a public walk, an exedra (a hall or arcade with seats for lectures and discussions) and a large building to house the scholars who resided there. Laboratories and botanical gardens existed in the building, with the ancient Library of Alexandria attached to it.

The scholars and the staff were able to access communal spaces and benefit physically and emotionally from the everchanging daylight conditions.

Private collections

Renaissance was the period of European cultural, artistic, political and economic “rebirth” following the Middle Ages. It is characterised by the rediscovery of art, literature and classical philosophy.

The closest thing to modern museums during this period were the cabinets of curiosities. These were assembled by curious noblemen, wealthy merchants and scholars. They were mainly private collections located in palaces open only to the collector and his immediate social circle. They were places to come together, learn and showcase the riches of the world.

Architecture and daylight

As the cabinets of curiosities were private collections, their displays varied. In some cases, the collector stored the items in literal cabinets, fitted with cupboards and drawers, whereas others were rooms stuffed with animal, mineral, vegetal, and artistic treasures.

Use of the space dictated the lighting. During the day, light entered the space via windows. As a result, the artefacts were exposed to daily, seasonal variations in weather patterns, which affected the availability and directionality of the daylighting. In order to avoid glare and unwanted reflections, shutters and curtains were introduced.

During the hours of darkness, the rooms were lit by candles or oil lamps, creating low level light conditions with strong shadows and stark contrasts.

Public institutions

During the 18th century, there was a shift from private collections to the founding of public museums. The intention was to improve the levels of education and culture to encourage the spread of information and increase engagement in society. During this time, world-class museums were founded like the British Museum in London (1759) and the Louvre in Paris (1793). However, those that visited museums still tended to be the aristocracy and ruling classes, which reduced the intended social impact.

Architecture and daylight

The architecture of the museums progressed from private palaces to purpose-built museums. As these public institutions were never open after dusk, they placed more emphasis on improving daylight conditions. Lighting in art galleries progressed from simple side lighting to clerestory windows, roof lights and lanterns. The use of top light offered better distribution in the rooms and better view- ing conditions, minimising glare and reflections associated with the sunlight from windows.

The social inclusion

In an effort to widen the audience of museums and increase accessibility, the first international trade fair was held in 1851 in Crystal Palace, London. The target audience was the artisans and craftsmen who had been excluded from the elite museums, and therefore it was more affordable.

In 1857, the Crystal Palace Museum and the South Kensington Museum (now known as the V&A), opened its doors. Objects of craft and industrial arts (as opposed to “fine” arts) were now on display to the general public. The exhibits aimed to educate visitors in art and design. By extending the opening hours to weekends, holidays and evenings, the Director of Victoria and Albert Museum Henry Cole welcomed and encouraged working class people to visit.

Architecture and daylight

The use of top-lit galleries (that began in the 18th century) progressed rapidly during the 19th century. The first theories on optimal gallery daylighting emerged in an attempt to explain and improve daylighting. F.P. Cockerell in 1850 and Weissma in 1895 both established the principle of directing light onto walls by investigating the geometry of gallery wall sections.

Moreover, the V&A was the first public institution to introduce artificial gas lighting to accommodate the extended opening hours.

Conservation movement

During the 20th century, museums became an educational facility and leisure activity. Following the Second World War, museums responded to a changing and more educated society.

The conservation movement contributed to the development of museums as a response to increased awareness of the environment and the need to preserve it.

Architecture and daylight

A significant change emerged during the second half of the 20th century, when the importance of protecting the light-sensitive artwork from deterioration was prioritised. Many art galleries started excluding natural light in an attempt to create a more controlled environment.

However, the continuous control of light to fixed levels attracted criticism from the public. The monotonous environment with little relief or variation resulted in museum fatigue.

This design approach disconnected the galleries from the outdoor environment, which in turn limited the embodied experience of the visitors.

More than containers of art

Today, museums are much more than buildings which preserve art. The role of the museums has changed drastically. Museums can bring people together through public events, workshops and lectures. They are centres for learning, community and social hubs. Museums and galleries bring communities closer and strive to welcome everyone. They have a significant social and economic impact.

In recent years, museums have become increasingly engaged with embodied, sensory and emotive forms of knowledge, with personal experience being considered as paramount.

Architecture and daylight

In the 21st century, museums are more considerate and aware of visitors’ emotional experience. Museums and galleries promote mental health and wellbeing for visitors and museum staff by allowing daylight in the exhibition spaces. The visitor is placed in the centre of the designs and feels included. A multi-layered design considers the visual perception of the exhibits, their conservation and the visitors’ emotional response to the museum.