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The relighting of Michelangelo’s Sistine Chapel frescos was headline news all over the world. The big story was that world’s media told us was that the paintings had been transformed by lighting. Conservation lighting has always been... more
The relighting of Michelangelo’s Sistine Chapel frescos was headline news all over the world. The big story was that world’s media told us was that the paintings had been transformed by lighting. Conservation lighting has always been challenging, but new technologies are revealing exciting new opportunities in heritage lighting. New technologies and techniques such as projection mapping may require the creation of new methodologies for quantifying and controlling light in museum environments.

Follow the link for a YouTube video of a conference keynote by Malcolm Innes from November 2014. The 30 minute presentation was pre-recorded to be delivered by video conference at the Iran Lighting Design Conference in Tehran, 21st November, 2014.
Research Interests:
Sight is the principal sense used by most gallery visitors, hence light is an essential element required for visitors to appreciate the exhibits, but light can also damage the precious objects it allows us to see. Therefore, light itself... more
Sight is the principal sense used by most gallery visitors, hence light is an essential element required for visitors to appreciate the exhibits, but light can also damage the precious objects it allows us to see. Therefore, light itself reflects the dichotomy of the gallery collection, the roles of conservation and display.
Conservation display lighting standards seek to minimise damage by reducing exposure to visible light and excluding ultraviolet. The 50-lux standard for very sensitive materials is almost universally applied throughout the world - but what does 50-lux mean, and could we be using the wrong equipment and measuring the wrong thing?
Spurred by 20 years experience of creative conservation lighting for National Galleries of Scotland and other national institutions, the author has set out to explore why 50-lux does not need to look like 50-lux, how the perception of brightness and colour temperature are related, how we should be measuring conservation display lighting.
This paper draws on the results of the author’s perception of brightness tests carried out in experimental gallery settings at Edinburgh Napier University in 2011 and wide ranging literature reviews of studies of the perception of brightness at low light levels.
In 2011, the author reported on an experiment that quantified how there can be a significant mismatch between illuminance measurements and the perceived brightness of some exhibits in museum displays. This previous study explored evidence... more
In 2011, the author reported on an experiment that quantified how there can be a significant mismatch between illuminance measurements and the perceived brightness of some exhibits in museum displays. This previous study explored evidence of the effect as seen in dimmable low voltage tungsten halogen gallery lighting.

Given that the results of the tungsten halogen study suggested that even small increases in colour temperature of around 150 kelvin could significantly affect the perceived brightness of illumination, what is the implication for solid state lighting? With a general move towards completely LED lit museums and galleries, designers have to make a conscious choice of colour temperature. Can the choice of LED colour temperature affect the perception of brightness at conservation light levels?

Galleries and museums exist to house a collection of precious objects. The display of these objects is an important part of a galleries work, but its principle task is to conserve the collection. Many materials, from pigments in paints to fabrics and even plastics, can be damaged by exposure to visible light. For museums tasked with protecting precious objects, the act of illuminating objects for display introduces risk of permanent damage. The display of sensitive materials has therefore always been a compromise between improving visibility with plenty of light, and minimising damage potential by reducing light levels.

So, if gallery exhibits have to be dimly illuminated to protect them from light induced damage, can we make them appear brighter for the viewer just by our specification of LED illuminant? If we can make dimly illuminated objects appear brighter, is there a right colour temperature for conservation lighting - is there a right white?

Recent work by the Lighting Research Centre has identified that, for some colour temperatures, a visually neutral white does not lie on the black body curve. Instead, neutral whites lie on a “white body curve” which has a shape that is distinct from the Planckian Locus. It therefore seems harder than ever for lighting designers to be able to make the right choice of white LEDs for illuminating gallery exhibits. Furthermore, do viewers have a preference for the colour temperature of display lighting using solid state sources?
Many museum and gallery exhibits are fragile objects that would not survive repeated handling. Even where this is not the case, it is generally frowned upon for visitors to touch exhibits. As a result, vision is by far the most important... more
Many museum and gallery exhibits are fragile objects that would not survive repeated handling. Even where this is not the case, it is generally frowned upon for visitors to touch exhibits. As a result, vision is by far the most important sense for museum visitors.

One limit on human visual acuity is the availability of light, with better vision requiring higher illuminance. However, the bright light that allows us to understand the intricacies of an exhibit can also harm it. Many organic materials can be damaged by exposure to ultra violet, infra red and visible light. The display of light-sensitive exhibits is a compromise between the need to preserve the object (ideal conditions being complete darkness) and the visitor's need to see and appreciate detail (where ideal conditions may be daylight). Conservation lighting standards set strict limits on the amount of light and the length of exposure. One common result is the dull warm glow of conservation lighting that museum visitors complain about so regularly.

The author’s 18 years of experience of conservation lighting led to the recognition that, at low light levels, there is a strong correlation between colour temperature and perceived brightness. This is evidenced when curators dim down lighting schemes measured at below 50lux: they claim, "it looked too bright to be 50lux", believing that a dim orange light signifies conservation levels.

The author believes that the study and application of the psychological effects of light at low levels allows lighting designers to create museum environments that are perceived by the viewers as bright, but which minimise damage to the exhibits. This paper shares the results of the experiments described below, and refers to other novel techniques of lighting sensitive objects in a museum environment.
Exploring the boundary between light art and lighting design in architecture, using examples of my own work and the work of other light artists.
"Light and sound artist Malcolm Innes was part of the team that presented Between Two Worlds, a Forestry Commission Scotland event in the Cairngorms National Park in November 2007. This was a two mile, night-time forest journey using... more
"Light and sound artist Malcolm Innes was part of the team that presented Between Two Worlds, a Forestry Commission Scotland event in the Cairngorms National Park in November 2007. This was a two mile, night-time forest journey using light and sound to reveal the mystery and beauty of Glenmore Forest and bring its landscape and ancient legends to life. Drawing on this experience, Malcolm will describe the project and lead a discussion on installing large scale temporary artwork in sensitive locations."
Exploring the boundary between light art and lighting design in architecture, using examples of my own work and the work of other light artists.
No abstract available
Lighting is a key factor for the display and preservation of cultural heritage materials. This research pioneers the chemical investigation of colourants aged by visible light of different wavelengths. Silk samples dyed by historically... more
Lighting is a key factor for the display and preservation of cultural heritage materials. This research pioneers the chemical investigation of colourants aged by visible light of different wavelengths. Silk samples dyed by historically important colourants including magenta, carthamin and curcumin were accelerated light-ageing by visible light of 10 nm and 60 nm width, the former allowed unprecedentedly precise investigations of the effect of light wavelength on the ageing of colourants. The chemical compositions of the aged samples were analysed by Ultra high performance liquid chromatography with photodiode array detection, and the colour changes of the samples during ageing were tracked by Fibre optic spectrometer. As a result, coloured and colourless ageing products are detected, corresponding to the colour changes of the samples during ageing. The orange degradation products of carthamin and the purple degradation products of magenta are detected for the first time. Samples dye...
Buku pengantar subjek desain pencahayaan arsitektural ini mengeksplorasi kemampuan estetika dan emosional dari pencahayaan yang dirancang dengan baik tanpa harus menyembunyikan subjek di balik rumus sains dan matematika. Buku ini... more
Buku pengantar subjek desain pencahayaan arsitektural ini mengeksplorasi kemampuan estetika dan emosional dari pencahayaan yang dirancang dengan baik tanpa harus menyembunyikan subjek di balik rumus sains dan matematika. Buku ini diilustrasikan secara visual dengan bagus dan dianalisis secara mendetail untuk mengeksplorasi beberapa prinsip dasar bidang ini. Buku dibagi menjadi dua bagian. Bagian pertama, Teori, menjelaskan sifat fisik cahaya serta efek fisik dan psikologisnya terhadap manusia. Bagian ini menguraikan elemen cahaya alami dan buatan, termasuk diskusi tentang jenis luminer dan sistem kontrol. Bagian kedua, Proses dan Praktik, pertama mencakup prinsip-prinsip pencahayaan praktis, desain yang baik untuk kebutuhan manusia, dan cara menerangi permukaan dan ruang. Kemudian fokus pada kepraktisan presentasi untuk klien dan orang lain: bagaimana merekam sistem pencahayaan, dan komunikasi dari sketsa awal dan model pengujian hingga menyediakan spesifikasi untuk kontraktor dan f...
The relighting of Michelangelo’s Sistine Chapel frescos was headline news all over the world. The big story was that world’s media told us was that the paintings had been transformed by lighting. Conservation lighting has always been... more
The relighting of Michelangelo’s Sistine Chapel frescos was headline news all over the world. The big story was that world’s media told us was that the paintings had been transformed by lighting. Conservation lighting has always been challenging, but new technologies are revealing exciting new opportunities in heritage lighting. New technologies and techniques such as projection mapping may require the creation of new methodologies for quantifying and controlling light in museum environments. Follow the link for a YouTube video of a conference keynote by Malcolm Innes from November 2014. The 30 minute presentation was pre-recorded to be delivered by video conference at the Iran Lighting Design Conference in Tehran, 21st November, 2014.
Lighting Education for Non-Specialists: How does anyone end up working as a lighting designer? We have all discovered the joy of lighting design through different routes. When friends in kindergarten wanted to be firemen and astronauts, I... more
Lighting Education for Non-Specialists: How does anyone end up working as a lighting designer? We have all discovered the joy of lighting design through different routes. When friends in kindergarten wanted to be firemen and astronauts, I did not say I wanted to be a lighting designer. At primary school, I wanted to drive lifeboats until I realised that you volunteered for that and did not get paid. As a teenager, I wanted to be an artist and decided to go to Art College to study art. I did not know I wanted to be a lighting designer, because I had never heard of lighting design. The story is similar for most people working in lighting design, they discover lighting accidentally whilst studying something else. At Edinburgh Napier University, I teach a 15 week lighting module to students on the Interior & Spatial Design course. The students did not come to university to study lighting, but I know how their effective use of space, materials and colour can be greatly enhanced with an u...
Exhibition lighting in museums and galleries usually strives to render the true nature of the surface of the exhibits. This would normally include using light sources that provide the most accurate rendering of colour and tone - white... more
Exhibition lighting in museums and galleries usually strives to render the true nature of the surface of the exhibits. This would normally include using light sources that provide the most accurate rendering of colour and tone - white light sources with an appropriate colour temperature and high colour rendering index scores. This has been the traditional approach to exhibition lighting for decades, but in the era of solid state lighting, is there now an opportunity to rethink how we illuminate our precious and fragile historic artefacts? Should we be questioning our whole knowledge base for conservation lighting and looking for new ways to maximise visibility and minimise damage to our most fragile artefacts?
What is design and what are designers? Good design can change lives and improve services within the public, private and third sectors. Designers are creative problem solvers who can make ideas visible and tangible, using a unique set of... more
What is design and what are designers? Good design can change lives and improve services within the public, private and third sectors. Designers are creative problem solvers who can make ideas visible and tangible, using a unique set of skills and strategies easily transferable to entrepreneurial thinking, and local authority and community initiative. As part of the Institute for Creative Industries, the Centre for Design Practice & Research comprises a team of design academics and creative practitioners with expertise in graphic design and branding, lighting design, product and furniture design, urbanism, interaction design, exhibition design, advertising, design ethnography, museum interpretation, moving image design, and architectural and interior design. The scope of our work extends across design research, consultancy, commercialisation, knowledge transfer, and CPD. We have an established track record of interfacing with industry and working with the public sector on a range of...
The professional status of architectural lighting design varies in different parts of the world. Those of us practicing in countries with a long history of independent lighting design like to think we are working within an established... more
The professional status of architectural lighting design varies in different parts of the world. Those of us practicing in countries with a long history of independent lighting design like to think we are working within an established profession. Yet, in 2009, a shockwave was sent through the lighting design community when an urgent IALD press release warned that “The Texas State Legislature has passed legislation that will have the unintended consequence of outlawing an entire profession--lighting design.” The Texas politicians were trying to prevent the dangerous excesses of ‘cowboy’ electrical work. The shock for the lighting community was that, for the law makers, we did not exist as a profession, only qualified architects, engineers and electricians were to be allowed to design lighting installations. After much lobbying, the issue was resolved and the law was amended, but it should remain as a sobering fact. It is simply not enough for us to think of ourselves as professionals...
Many museum and gallery exhibits are fragile objects that would not survive repeated handling. Even where this is not the case, it is generally frowned upon for visitors to touch exhibits. As a result, vision is by far the most important... more
Many museum and gallery exhibits are fragile objects that would not survive repeated handling. Even where this is not the case, it is generally frowned upon for visitors to touch exhibits. As a result, vision is by far the most important sense for museum visitors. The author’s 18 years of experience of conservation lighting led to the recognition that, at low light levels, there is a strong correlation between colour temperature and perceived brightness. This is evidenced when curators dim down lighting schemes measured at below 50lux because they claim "it looked too bright to be 50lux", believing that a dim orange light signifies conservation levels.
SFC FOLLOW-ON VOUCHER The project was undertaken as a SFC Follow-on Voucher (£40K) alongside a student project with BDes (Hons) Design & Digital Arts (D&DA).James Blake (Centre for Media & Culture) brought together students and staff to... more
SFC FOLLOW-ON VOUCHER The project was undertaken as a SFC Follow-on Voucher (£40K) alongside a student project with BDes (Hons) Design & Digital Arts (D&DA).James Blake (Centre for Media & Culture) brought together students and staff to develop digital content, including films, for a transmedia project and the induction video on the coaches to Ratho. Malcolm Innes, Ian Lambert, Andrew O’Dowd, and Euan Winton (Centre for Design Practice & Research) developed the Old Earth Museum (both physical and virtual), and transmedia designer and research student Beata Zemanek oversaw the transmedia strategy and making of the Gatekeeper film, supported by D&DA students and graduates.
Museums exist to display and preserve valuable artefacts. Display lighting helps fulfil one of the main tenets of a museum, but excessive light causes irreparable damage to sensitive exhibits. Getting the balance between good display... more
Museums exist to display and preserve valuable artefacts. Display lighting helps fulfil one of the main tenets of a museum, but excessive light causes irreparable damage to sensitive exhibits. Getting the balance between good display lighting and good conservation conditions is often difficult, but not impossible. Good exhibit lighting is not accidental. A considered process of design ideation and refinement is required to render exhibits to best effect. This thoughtful process is not explicit in the installation; nevertheless, by analysing methodologies that an experienced designer may consider as ‘intuitive’, the author establishes the critical design practices that underpin effective lighting for museum exhibits. The author explores factors that may impair viewing conditions and how the human physiological response to light can work against us in dimly lit galleries. However, considered use of light can reveal details of texture, shape, and decoration that could easily be missed ...
What is colour? An exploration of our complex and contradictory relationship with colour and light.
Without light, interior architecture cannot be fully designed and experienced. It is one of the key tools for an interior designer, but can be a dauntingly technical subject for students. Part One, Theory, looks at the physics and... more
Without light, interior architecture cannot be fully designed and experienced. It is one of the key tools for an interior designer, but can be a dauntingly technical subject for students. Part One, Theory, looks at the physics and technology behind lighting. Part Two, Process and Practice, looks more specifically at the use of lighting in interior design and outlines the key design issues and principles. The book goes on to show the ways of representing lighting schemes using CAD and 3D models and how to implement and test these designs. Finally, the book explains how to deal with contractors, clients and other professionals. This book takes a detailed, practical look at lighting in interior design, giving students all the key information and skills they need to be able to tackle lighting successfully in their designs.
Exploring the boundary between light art and lighting design in architecture, using examples of my own work and the work of other light artists.
For several years a momentum has been building behind efforts to provide some measure of the professional competence of lighting practitioners. This move is a natural progression towards the kind of professional recognition afforded to... more
For several years a momentum has been building behind efforts to provide some measure of the professional competence of lighting practitioners. This move is a natural progression towards the kind of professional recognition afforded to architects and engineers and is to be welcomed. Education is the foundation of professional accreditation in allied subjects like architecture. This means an education that extends from undergraduate levels, through post graduate studies and includes professional exams and continuing education to maintain skill levels even after achieving professional accreditation. Architectural lighting design has some way to go to achieve that level of educational integration.
Sight is the principal sense used by most gallery visitors, hence light is an essential element required for visitors to appreciate the exhibits, but light can also damage the precious objects it allows us to see. Therefore, light itself... more
Sight is the principal sense used by most gallery visitors, hence light is an essential element required for visitors to appreciate the exhibits, but light can also damage the precious objects it allows us to see. Therefore, light itself reflects the dichotomy of the gallery collection, the roles of conservation and display. Conservation display lighting standards seek to minimise damage by reducing exposure to visible light and excluding ultraviolet. The 50-lux standard for very sensitive materials is almost universally applied throughout the world - but what does 50-lux mean, and could we be using the wrong equipment and measuring the wrong thing? Spurred by 20 years experience of creative conservation lighting for National Galleries of Scotland and other national institutions, the author has set out to explore why 50-lux does not need to look like 50-lux, how the perception of brightness and colour temperature are related, how we should be measuring conservation display lighting. This paper draws on the results of the author’s perception of brightness tests carried out in experimental gallery settings at Edinburgh Napier University in 2011 and wide ranging literature reviews of studies of the perception of brightness at low light levels.
When designing lighting for the built environment, how do we know how much light is enough. Do lighting standards represent what is correct, or what is usual?
When designing lighting for the built environment, how do we know how much light is enough. Do lighting standards represent what is correct, or what is usual?
When designing lighting for the built environment, how do we know how much light is enough. Do lighting standards represent what is correct, or what is usual?
Research Interests:
Research Interests:
Without light, interior architecture cannot be fully designed and experienced. It is one of the key tools for an interior designer, but can be a dauntingly technical subject for students. Part One, Theory, looks at the physics and... more
Without light, interior architecture cannot be fully designed and experienced. It is one of the key tools for an interior designer, but can be a dauntingly technical subject for students.

Part One, Theory, looks at the physics and technology behind lighting. Part Two, Process and Practice, looks more specifically at the use of lighting in interior design and outlines the key design issues and principles. The book goes on to show the ways of representing lighting schemes using CAD and 3D models and how to implement and test these designs. Finally, the book explains how to deal with contractors, clients and other professionals.

This book takes a detailed, practical look at lighting in interior design, giving students all the key information and skills they need to be able to tackle lighting successfully in their designs.