Lighting Research & Design’s Post

RESEARCH PUBLICATION Q1 ASEJ📢 “FACTORS AFFECTING MUSEUM BUILDINGS AND HERITAGE SPACES IN TERMS OF ENERGY OPTIMIZATION AND COMFORT” My 2nd research published for Ain Shams Engineering Journal (Q1 ranked), by ELSEVIER. Reflecting over 50 museums all over the globe, the research is good for data analysis around museums and fact-checking the nature of their energy challenges as well.. The research is now open access for the public. Co-Authors: Dr.Ashraf Nessim & Dr.Fatma Fathy https://lnkd.in/dZaX3y7j ———————- ABSTRACT: Museum buildings host a special environment that is complex in its nature and could not be simplified in a single set of requirements, such as lighting challenges, energy consumption and visitor comfort. Mismanaging that could damage or affect the aging of sensitive objects and deprive the museum’s light and thermal comfort. Finding the balance of environmental comfort for the artifacts and the visitor simultaneously is always challenging in which most cases prioritized either one over the other. Consequently, this created a gap was created in the museum building and energy industry. The paper aims at identifying architectural design to help reduce energy costs and optimize smart systems efficiency in thermal and daylight while achieving high functionality. Here, the study elaborates the problem through analyzing multiple case studies and evaluating factors affecting energy and daylighting efficiency. After comparing 50 case studies according to six main factors in the building, architectural intervention techniques and MEP techniques are the most applicable and effective in museums indoor environment. In conclusion, mass design and envelope techniques are identified as the most impactful factors in architectural interventions for optimizing energy consumption and regulation, as evidenced by multiple case studies. Based on construction methods and climate-based classifications, observations showed that cold weather museums prefer envelope techniques, average climates use both equally with a preference for atriums, and hot climates predominantly use shading by mass. Renovated museums focus on MEP improvements, while new constructions have broader options. These insights guide the optimal architectural application for the base model, considering factors like floor mass dimensions, vertical shifts, shading devices and window-to-wall ratios, while keeping materials constant and excluding renewable resources and MEP solutions. #Research #Musuems #Energy_optimization #Daylighting #Journal #Heritage #Renovation

They say every project is a unique endeavor but also every sector has their own challenges when running projects.     Thanks to Hypsos - standbouw - interieur - brand experience - museuminrichting - world events , I had the privilege of working on #museumprojects with Heide Agne. Below are the biggest challenges I observed regarding these projects.    Budget Blowouts: Museum projects are notorious for going over budget. Unexpected costs pop up all the time—whether it's the price of rare materials, advanced tech for exhibits, or unforeseen construction challenges. Design vs. Functionality: The struggle is real between making a museum look stunning architecturally and ensuring it works for the exhibits. A beautiful design might end up not having enough wall space, or special lighting requirements can clash with the architect’s vision. Artifact Preservation: Keeping historical pieces in perfect condition is a massive challenge. Special climate controls, humidity regulation, and even the right materials for walls and floors are critical—and costly. Getting this wrong can cause serious damage to valuable artifacts. Too Many Cooks: From donors and curators to city officials and architects, everyone has a say. But not everyone agrees. Aligning everyone's expectations often slows the project down or forces changes at the last minute. Permits and Red Tape: Museums usually involve historical preservation, which means tons of regulations and permits. Getting approvals can take ages and cause frustrating delays, especially if the site is of cultural or historical significance. These can make museum projects a real challenge to manage! (Photo: Courtesy of the Grand Egyptian Museum)

First of all,we must be responsable in demography increase/decrease.Second,Biophilic design can be organized into three categories: - Nature in the space ; - Natural analogues ; - Nature of the spaces. Developing all this 3 categories ,we can have images of further row materials,medical impact of human health,bioenergy of land(teluric energy in asociation with row materials).Today Technology offer to us allot of possibility in buildings area. Just our wish to involve must be added !!!!

Nic Brunsdon’s NGV installation, "This is Air," gets its own literary spotlight in a book that's part architectural diary, part ontological inquiry into the art of breathing. The book unpacks the inflatable wonder from its technical inception to its deep ecological and civic ruminations, with contributions that range from the reflective to the practically respiratory. It's like a yoga class for your intellect, where the mat is a blueprint and the poses are ponderings on air, architecture, and how not to hyperventilate in an increasingly metaphorically and literally toxic world. https://lnkd.in/gbf-DcXS

I can now call myself Master of Spatial Design (cand.des) from Det Kongelige Akademi. My final thesis project was created in collaboration with Johannes Graff Vallant and with Ane Pilegaard as tutor. The project 'TOOL' can be viewed at the following link: https://lnkd.in/dMZbfBuS and can also be seen at this year's graduation exhibition ‘NEW Design & Architecture’ at The Royal Danish Academy, opening this Friday. About the project: The exhibition industry struggles with significant material waste due to the frequent turnover of temporary exhibitions, often involving bespoke exhibition design being discarded post-exhibition. This proposal addresses the gap between art institutions’ sustainable ambitions and their wasteful production practices, aiming to shift the mindset towards exhibition design and open up new aesthetic potentials and a more sustainable exhibition practice. TOOL is a spatial exhibition design system, based on reversible components, that challenges the traditional exhibition design aesthetic and material approach, serving as an active implementation tool in the green transition of art institutions. A strategic product design developed and exemplified through translations of former exhibitions at The National Gallery of Denmark (SMK).

The Réseau Art Nouveau Network is celebrating 25 years of activity this year and to mark the occasion is organising an international conference in Brussels on 27 and 28 November 2024. The initiative is part of the activities of the European project "Art nouveau as a New EUtopia" and will be an important opportunity to reflect on the theory and techniques of Art nouveau heritage restoration, from the publication of the Venice Charter to the present day. The conference will be structured in three sections: 1964-1994: Thirty years of restoration history: insights and perspectives If authenticity and reversibility are the keywords of the UNESCO charter adopted in Venice in 1964, which emphasizes the importance of a rigorous critical approach to the heritage to be restored, respecting the specificities of materials and techniques, the declaration presented in Turin in 1994, takes up these assumptions to specify the specificities of Art Nouveau heritage. Having recalled the main assumptions of the Venice Charter, we would like to understand why 30 years after its publication the need was felt to draw up a code of intervention specifically dedicated to Art Nouveau. We would also like the conference to be an opportunity to clarify, through concrete examples, the critical fortune of the two UNESCO documents, aware that their implementation in Europe is not always systematic. - Did your Country officially adopt the Turin declaration and implement it in the theory and practice of restauration. - What are the advantages and limitations of the Turin Declaration, particularly in the context of today’s sustainability challenges? - What is needed to update the general theories of architectural restoration in the 21st century and how does this affect heritage professionals working on restoration sites? - What are the examples of good practice that can help to fuel these questions, particularly with regard to intervention techniques and methods? - What are the good practice examples that can help nurture these questions, in particular regarding intervention techniques and methods? We invite architectural historians and art historians, architects and engineers, and craftsmen who in their daily practice deal with Art Nouveau plans, structures and materials to answer these questions. INTERNATIONAL SYMPOSIUM, 27–28 NOVEMBER 2024, BRUSSELS ART NOUVEAU AS A NEW EUTOPIACALL FOR PAPERS CONDITIONS OF SUBMISSION AND SCHEDULE • Candidates are invited to send by email to: anasaneweutopia@gmail.com and erika.giuliani@artnouveau-net.eu by 26 July 2024 in French or in English: - CV, including contact details of the candidate (e-mail address, phone) and possible bibliography of articles or books already published - An abstract / summary of the communication (maximum 500 words) - For young researchers: two references • The RANN will inform the candidates of the selection of the Scientific Committee by 26 August 2024 at the latest.  

Lyubomir Krastev. Inconsistent Spaces Curator Maria Vassileva 22 October-16 November 2024, opening 22 November, Tuesday, 6-8 pm Lyubomir Krastev has worked on this series of large-format drawings for almost four years. The length of the process is determined not only by the complexity and specificity of the technique but also by the search for an image that captures the essence of our problematic world with a minimum of expressive means. Although inspired by specific landscapes, places, and situations, in the process of research and recreation on the paper, Krastev creates utopias whose connection to reality is almost lost. The clash between industries and urbanization on the one hand and the resistance of nature on the other, creates desert spaces in which only traces are left. Geographical, political, and cultural differences are unified and transformed into images with an abstract sound. Images-metaphors, images-predictions of possible future cataclysms, disturbing, depopulated landscapes, only hinting at past dynamics. Krastev's process usually begins with a photograph taken by the artist or found, reversed in black and white. He starts a kind of game by transforming individual areas from positive to negative, shifting them, and enlarging them. This enables him to move away from the concrete and enter the abstract fields of emotions. He transfers the intended image onto the paper with a highly complex, slow, and demanding immense concentration technique that uses charcoal and graphite powder. The included collage highlights the fluidity and instability of experience, often remaining on the spectrum of the superficial and transitory. In the project, individual realities, objects, and spaces from the natural, architectural, or urban environment bleed into one another, mutually altering each other. Lyubomir Krastev's work relies on oppositions such as visible-invisible, conscious-unconscious, metaphysical-real. "The desire to be close to nature is increasingly palpable. But only in the form of escape...", says the author. The exhibition is dedicated to the impossibility of finding harmony between what we have created and the surrounding nature. Somewhere, the connection has broken, and restoring it seems almost impossible.

Lyubomir Krastev. Inconsistent Spaces Curator Maria Vassileva 22 October-16 November 2024, opening 22 November, Tuesday, 6-8 pm Lyubomir Krastev has worked on this series of large-format drawings for almost four years. The length of the process is determined not only by the complexity and specificity of the technique but also by the search for an image that captures the essence of our problematic world with a minimum of expressive means. Although inspired by specific landscapes, places, and situations, in the process of research and recreation on the paper, Krastev creates utopias whose connection to reality is almost lost. The clash between industries and urbanization on the one hand and the resistance of nature on the other, creates desert spaces in which only traces are left. Geographical, political, and cultural differences are unified and transformed into images with an abstract sound. Images-metaphors, images-predictions of possible future cataclysms, disturbing, depopulated landscapes, only hinting at past dynamics. Krastev's process usually begins with a photograph taken by the artist or found, reversed in black and white. He starts a kind of game by transforming individual areas from positive to negative, shifting them, and enlarging them. This enables him to move away from the concrete and enter the abstract fields of emotions. He transfers the intended image onto the paper with a highly complex, slow, and demanding immense concentration technique that uses charcoal and graphite powder. The included collage highlights the fluidity and instability of experience, often remaining on the spectrum of the superficial and transitory. In the project, individual realities, objects, and spaces from the natural, architectural, or urban environment bleed into one another, mutually altering each other. Lyubomir Krastev's work relies on oppositions such as visible-invisible, conscious-unconscious, metaphysical-real. "The desire to be close to nature is increasingly palpable. But only in the form of escape...", says the author. The exhibition is dedicated to the impossibility of finding harmony between what we have created and the surrounding nature. Somewhere, the connection has broken, and restoring it seems almost impossible.

📢📢 New publication alert: The updated Bauhaus Earth Charter "Toward Re-Entanglement: A Charter for the City and the Earth" is now available via JOVIS Verlag! Order a hard copy or download the open source PDF here: https://lnkd.in/esef_8bX 🎉 From the Charter: "The #ClimateEmergency has been described as a “crisis of imagination,” mainly referring to a breakdown in our ability to grasp the scale, complexity, and profound ramifications of human impacts on terrestrial health. It is also a #crisis in our ability to #imagine the counterfactual: a more positive, hopeful #Future." 🤲 🌱 With our Charter and the upcoming Bauhaus Earth Essay series, we hope to present this much-needed #vision of a more hopeful future. The 12 principles of #reentanglement challenge all of us –citizens, activists, policymakers, planners, builders, designers, researchers – to envision the #BuiltEnvironment as a healer rather than a destroyer of the #Climate. 🌍🏙️ Join us in radically reimagining the relationship between cities, buildings, landscapes, people, and the #planet! Download your copy now! 🔗 The Bauhaus Earth Charter, Essays, and Manuals are published by #JOVISVerlag. Keep your eyes out for more upcoming publications! 👀 The design of the publication, including the cover image above, is by Bureau Est. 📚 📸 by Xu Tiantian __ #NewPublication #Publication #Essay #Architecture #UrbanPlanning #SustainableArchitecture #Archilovers #City #Building #Bauwende #Archigram #Design #Art #Sustainability #Book #BauhausErde #BauhausEarth

"While I, like most of us, find myself closely unpacking the current election cycle, I am anticipating renewed debates over cultural policies, particularly around architecture, monuments, and public space." Read more via my substack https://lnkd.in/eej23uPE