1. A pragmatic approach to preventive conservation Lighting design support for Madeleine Vionnet, puriste de la mode Exhibition at musée des arts décoratifs in Paris from August 2009 to February 2010. ICOM-CC Triennial 16th Conference – 19/23 september 2011, Lisbon

2. Specificity of exhibition lighting The art of lighting is an integral part of an exhibition. Exhibition lighting contains two objective aspects: - impact of lighting on object conservation : three factors cause damage on objects, spectral sensitivity of the object, spectral composition of the light source and the total luminous exposure. - impact of lighting on visitor’s vision : lighting must give visitors a good view of presented objects, without glare, unwanted reflects or sufficient illumination. and one subjective aspect: - lighting for display is not only a challenge for visibility and conservation. As part of the spatial design, it must participate with the interpretation and be meaningful. In fact, exhibition lighting is a visual semiotic system. 2

3. Madeleine Vionnet Exhibition Seven months exposure instead of the usual three months for a temporary exhibition. The objects presented in highly sensitive materials (textiles) A famous design firm to set the exhibition (Andrée Putman) A large budget (patronage) A place very structured (showcases) 3

4. The scenography walls or ceilings, bright white Walls or ceilings, matt black Walls, ceilings or floors, glossy black 4

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6. The action of preventive conservation in lighting 1.To assist for the selection of light sources, 2.To decide of the total luminous exposure, 3.To propose different ways to achieve the goals of limiting the illumination 4.To be able to measure the light exposure 5.To measure of fading, 6.To review the actions 7.To make new proposals for future exhibitions 6

7. 1. To provide assistance for selection of light sources Imposed by the lighting design project: - Fluorescent tubes T5 28W 830 Imposed by the existing installation: - Halogen MR16 50W 7

8. 2. To decide of the maximum of total luminous exposure accepted Sensitivity and classification for cultural property The table below lists materials in four categories according to their sensitivity to light CategoryDescription 1. No sensitivityThe object is entirely composed of materials that are insensitive to light. Examples; most metals, stone, most glass, genuine ceramic, enamel, most minerals. 2. Low sensitivityThe object includes durable materials that are slightly light responsive. Examples; oil and tempera painting, fresco, untied leather and wood, horn, bone, ivory, lacquer, some plastics. 3. Medium sensitivity The object includes fugitive materials that are moderately light responsive. Examples; most textiles, watercolours, pastels, prints and drawings, manuscripts, miniatures, paintings in distemper media, wallpaper, and most natural history objects, including botanical specimens, fur and feathers. 4. High sensitivityThe object includes highly light responsive materials. Examples; silk, colorants known to be highly fugitive, graphic art and photographic documents. Table 1. Classification of sensitive cultural property from CIE 157:2004 8

9. 2. To decide of the maximum of total luminous exposure accepted Sensitivity and classification for cultural property The table below lists materials in four categories according to their sensitivity to light CategoryDescription 1. No sensitivityThe object is entirely composed of materials that are insensitive to light. Examples; most metals, stone, most glass, genuine ceramic, enamel, most minerals. 2. Low sensitivityThe object includes durable materials that are slightly light responsive. Examples; oil and tempera painting, fresco, untied leather and wood, horn, bone, ivory, lacquer, some plastics. 3. Medium sensitivity The object includes fugitive materials that are moderately light responsive. Examples; most textiles, watercolours, pastels, prints and drawings, manuscripts, miniatures, paintings in distemper media, wallpaper, and most natural history objects, including botanical specimens, fur and feathers. 4. High sensitivityThe object includes highly light responsive materials. Examples; silk, colorants known to be highly fugitive, graphic art and photographic documents. Table 1. Classification of sensitive cultural property from CIE 157:2004 9

10. 2. To decide of the maximum of total luminous exposure accepted Sensitivity and classification for cultural property The table below lists materials in four categories according to their sensitivity to light CategoryDescription 1. No sensitivityThe object is entirely composed of materials that are insensitive to light. Examples; most metals, stone, most glass, genuine ceramic, enamel, most minerals. 2. Low sensitivityThe object includes durable materials that are slightly light responsive. Examples; oil and tempera painting, fresco, untied leather and wood, horn, bone, ivory, lacquer, some plastics. 3. Medium sensitivity The object includes fugitive materials that are moderately light responsive. Examples; most textiles, watercolours, pastels, prints and drawings, manuscripts, miniatures, paintings in distemper media, wallpaper, and most natural history objects, including botanical specimens, fur and feathers. 4. High sensitivityThe object includes highly light responsive materials. Examples; silk, colorants known to be highly fugitive, graphic art and photographic documents. Table 1. Classification of sensitive cultural property from CIE 157:2004 10

11. 2. To decide of the maximum of total luminous exposure accepted The following table gives the recommended values of maximum total luminous exposure for the different classes of light sensitive objects. Table 2. Total luminous exposure for different classes of light sensitive object interpreted from CIE 157:2004 MATERIAL CLASSIFICATION BLUE WOOL SCALETOTAL LUMINOUS EXPOSURE Insensitive7 & 8no limit (for conservation) Low sensitivity75 & 6600 000 luxh/y Medium sensitivity42 & 3150 000 luxh/y High sensitivity1115 000 luxh/y 11

12. 2. To decide of the maximum of total luminous exposure accepted The following table gives the recommended values of maximum total luminous exposure for the different classes of light sensitive objects. Table 2. Total luminous exposure for different classes of light sensitive object interpreted from CIE 157:2004 MATERIAL CLASSIFICATION BLUE WOOL SCALETOTAL LUMINOUS EXPOSURE Insensitive7 & 8no limit (for conservation) Low sensitivity75 & 6600 000 luxh/y Medium sensitivity42 & 3150 000 luxh/y High sensitivity1115 000 luxh/y 12

13. 2. To decide of the maximum of total luminous exposure accepted 15 000 lx.h/y = 300 hours x 50 lux (1 month) For seven months the dose would be close to 100 Klx h/y ( 15 000 lx.h x 7 = 105 Klx.h/exhibit ) 13

14. 3. Propose different ways to achieve the goals of limiting the illumination But 50 lux is extremely low illumination, we propose an average of 75 lux with a dynamic lighting between 30 and 150 lux. (150 klx.h) Illumination of all white surfaces (walls and ceelings) by fluorescents dynamic lighting. Increase and decrease light levels very slowly to be imperceptible by visitors 14

15. The relative influence of UV protection for lighting by fluorescent lamps. 15

16. White wall backlight principle White screen Fluorescent lamps wall dress spotlight ceiling 16

17. White wall backlight principle White screen Fluorescent lamps wall dress spotlight ceiling 17

18. White ceiling backlight principle Fluorescent lamps wall dress spotlights ceiling Translucent white ceiling Glossy blavk floor 18

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20. 4. To be able to measure of light exposure Dosimeters placed at various locations Sensor for measuring the exposure time 20

21. Difference in sensitivity of LightCheck according to the illumination source A E of 25 corresponds to a light exposure of 18 000 lux.h A E of 25 corresponds to a light exposure of 10 000 lux.h 21

22. Dosimeter Lightcheck ( Lido project) E CIELAB : 0 14 19 65 71 22

23. Dosimeter Lightcheck ( Lido project) E CIELAB : 0 14 19 65 71 23

24. Determination of the total luminous exposure by looking at the change of color, with the calibration chart 24

25. Determination of the total luminous exposure on the back of dress #52 18 76 (in showcase # 22 during the time of the exhibit) 19 19 000 lx.h 25

26. electronic dosimeter The sensor records the light from the start until the lights are off 26

27. 5. colorimetric measurement 27

28. 5. colorimetric measurement « Before » measures of  E CIELAB between the object and reference plate « After » measures of  E CIELAB between the object and reference plate Determine the difference of color differences before and after exposure 28

29. Determine the difference of color differences before and after exposure MatièreN°inv.Location de la mesureCouleur de la robe Couleur de la céramique  E avant  E après Ecart Drap de laine84-35-1dosmarrongris moyen4852+ 4 idemCôté gauchemarrongris moyen4954+ 5 Tulle52.18.66Bas du ventre (milieu)vert délavévert mat2828,4+ 0,4 Sous le nœud épaule droitevert délavévert mat30,633,2+ 2,6 Satin à l’envers52.18.15Haut du sein gauchevertvert mat33,535,2+ 2,7 Centre droit basvertvert mat31,830,8 Haut fesse gauchevertvert mat31,735,5+ 3,8 crêpe86.70.4Bassin facerougerouge mat13,813,6- 0,2 Milieu dosrougerouge mat12,711,8- 0,9 velours52.18.43Fesse (losange foncé)vertvert mat47,341,5- 5,8 ¾ dos (losange clair)vertvert mat45,538,2- 7,3 Table of results before and after exposure. 29

30. Recommendations -Dynamic lighting, variable in time, variable in illumination, must remain a requirement. Need to review or re-installing a new system of lighting management for showcases on this exhition room. -The exposure time, when the public is absent, must be reduced. It seems unnecessary to open the room two hours before the public comes, when an hour would be more than enough to ensure the proper functionning of electrical and electronic equipment. -Also required the creation of a work lighting for exhibition setting and maintenance other than the light coming from the display cases. 30

31. Thank you you for your attention 31