Conceptually the project was divided into two basic sections - the base building and the gallery exhibition spaces. Lighting of the various gallery spaces was then apportioned to three of Australia's leading lighting design groups, Vision Design Studio (VDS) and Barry Webb and Associates (BWA) who were already part of the project and Melbourne based Bluebottle. There was also major input and support from Melbourne Museum's own Technical Operations team lead by Craig Gamble, but there was no one actual project manager to oversee the entire project. Instead, it was managed by three entities; the Victorian government Office of Major Projects, who managed the base building together with Peter Root and Associates who also oversaw the exhibition and public spaces fit out. Further project input and advice was provided by Sean Sweeney of Sweeney and Associates.
As part of the Lincolne Scott Group, who are Services Engineers, VDS worked as part of the building design team with Denton Corker Marshall (DCM) Architects from 1994. They had two roles, the first was for the base building working with DCM. This involved establishing the lighting brief for internal and external spaces, carrying out the design, documenting the lighting, attending site, and overseeing the final aiming. The second was as gallery lighting designers for four galleries.
Dynalite's Victorian distributor, Lightmoves, installed the lighting control system through the museum. With over 1,400 dimmer channels and 200 channels of contactor control, the project incorporated two basic sections;
1. The Base Building - The main area of the building contains dimming channels controlled chiefly by the robust Dimtek DTK910 & DTK410 leading edge dimmers. In response to the requirement for control of a large number of contactor-supplied HID sources, situated in multiple locations, Dynalite developed the Dimtek DTK934 Contactor Controller.
2. Gallery Exhibit Spaces - 12 discrete gallery spaces were treated as "tenancy fitouts" within the base building. Each gallery was conceived by a different design team (including Vision Design Studio, Bluebottle and Barry Webb & Associates) and was released as an independent tender.
Initially, there was no requirement for gallery spaces to integrate with the main base building system, each gallery was designed as a stand alone network. Lightmoves could see the potential for a totally integrated solution and set about to secure every tender in order to realise the goal. They suggested adapting the specification to incorporate a unified network that provided the customer with simple interoperability and innumerable benefits. The project managers soon realised the practicalities of this method and subsequent tenders reflected the change.
The original tender for the base building called for one system capable of controlling both mechanical and electrical elements on the one platform, using a common protocol. No protocol existed with the flexibility to perform all required tasks, so an underlying infrastructure was needed to enable the integration of multiple third party systems. This requirement was realised via a high level interface between the lighting control and the building management systems (BAS), using Dynamic Data Exchange (DDE). The result is that the BAS can send or receive any lighting command and is fully aware of the status of all lighting devices.
In addition to the basic lighting requirements, it was essential that DMX512 capability was available in the gallery spaces. Dynalite's DyNet-to-DMX converters were installed and are utilised if no theatrical lighting desk is available to light temporary exhibits.
Gallery spaces also included a distributed AV system, as most exhibits contain some form of interactive multimedia. In most cases, the lighting demands need to change at times dictated by the AV controller. This objective was achieved on a per gallery basis, with DTK932 RS232-to-DyNet converters allowing the AV system to fully replicate the DyNet commands and have full lighting control.
Although not called for in the tender, Lightmoves decided to include Dynalite's ControlSoft graphical user software as the central controller. ControlSoft's Planview feature allows building managers to view the status of the lighting, museum-wide, at a glance. Lightmoves also recommended that a phone line be connected to the lighting control PC, which, along with the installation of PC-Anywhere software, has allowed for true offsite monitoring. Lightmoves incorporated this feature into the system design, as they believed it provided an important aid to the client. The remote monitoring facility allowed museum staff to become familiar with the new system, with the added assurance that a Dynalite-trained engineer could address any variations required, immediately and in real time, without disrupting the museum's day-to-day activities.
VDS lit four galleries - Children's Big Box, Melbourne Gallery, Gallery of Life and Mind & Body.
Barry Webb and Associates (BWA) worked on some major elements including the Info Zone lighting layout, the East Superspace and the showcase windows which extended over several floors. They also worked in the Orientation and Circulation spaces and InfoZone, a publicly accessible research centre. Some unusual objects lit by BWA were heritage birdcases, a whale skeleton, a Melbourne cable tram car and even windmills. According to BWA, one of their most exemplary achievements was the lighting of the massive primary wall showcases. They worked closely with the architects to develop lighting of these 40 showcases, each 3.5m x 2.8m which appear within much of the museum. A prototype was created to ensure the total result would be without compromise and allowed for ventilation and UV protection. The sensitivity of some of the elements to light and temperature is an important consideration when dealing with the museum's artefacts. The showcase has both wall washing and the ability to 'spot' particular elements from various positions of the showcase if required. The lighting was designed so that it could be dimmed remotely obviating the need for unnecessarily opening the displays.
The third creative design faction were Bluebottle who were largely responsible for the lighting design of at least four galleries: The Science and Life Gallery, the Te Pasifika Gallery (East Superspace) the Fossils - Travellers in Time & Darwin to DNA (West Super Space) and the Bunjilaka Gallery. They initially started working on the Bunjilaka Gallery with exhibition designer David Lancashire and later on the West with Freeman Ryan Design, also exhibition designers.
Bluebottle designed, installed and even focused with their own crew; the museum design teams they worked with left them with a fairly open brief, responding to their design intentions and developing the lighting in tandem with other design elements. Using a palette of fixtures from Selecon and other leading manufacturers, they enabled rapid adaptation of lighting design with changing exhibitions. Bluebottle had to work hard and efficiently - this was their first job of such scale in their home town. They delivered admirably and have since become profiled as a specialist in permanent exhibition lighting while continuing to work in theatrical and new frontiers of lighting design.
mondo*arc asked Bluebottle's founder Ben Cobham about the most challenging aspects of the project. "In the West Superspace, the lighting of several large dinosaur skeletons, we decided to soak the dinosaurs in highly saturated colours which obviously reinforced the fact that they were not real skeletons but cast copies. This had two main purposes, to create a highly theatrical centre piece to the Western Superspace Gallery and, secondly, to reinforce the intent of exhibition designer Stephen Ryan, differentiating between actual fossils and exhibition props. We used a combination of specially modified (by Lightmoves) Studio Due City Color units, Selecon Pacifics and Megalit Rastafs, all controlled via an ELC Showstore and Dynalite dimming system."
Throughout Melbourne Museum, wide use of Selecon fittings were a result of critical evaluation by the museum project teams who developed a Lateral Display System (LDS) for all equipment used in the galleries. These are manuals which, at a glance, describe a kit of parts that enables a consistent standard of equipment and minimises the range of spares, thus enabling ease of maintenance and cost effectiveness. There are LDS's for both the base building and exhibition lighting, multimedia, exhibition fabric (meaning object mounts and showcases) and public furniture, amongst others.
Another major supplier to the project was Euroluce. They are a company that has been established in Australia for over a quarter of a century and have a long standing relationship with Museum Victoria. Reggiani fittings, essentially a standard for gallery lighting internationally were used predominantly as their joint objectives were to use a reputable quality light with the flexibility of providing very specific functions.
Installation of the Dynalite lighting control system was by Lightmoves (see sidebar) who were involved from 1997 on the original design phase working closely with Vision Design Studio who designed all the electrical fit-out & base-building lighting. Their brief was to commission a lighting control system that included all public spaces plus back of house areas with expandability to include other areas such as exhibit spaces and also perform integration with multi-media components. For Lightmoves this encompassed base building control with BAS systems interfacing. As the exhibit spaces commenced fit-out they supplied and commissioned additional dimming and control equipment. One of Lightmoves major achievements on this was convincing the project managers to integrate the exhibit spaces with base building lighting control to provide the Museum with a total control solution.
The lighting control software they used was extensive in its application. Known as Controlsoft, it is client/server based, enabling Museum building engineers to log in and control and schedule the public spaces. Additionally via the Museum LAN the exhibit and operations staff can log in and control the exhibit spaces. There is also remote connection via a secure WAN interface for external diagnostics. There is even the ability to have the entire museum public space area and exhibits turn on or off with one button push or command from the central PC.
Lightmoves also implemented remote monitoring of the control system from their office. In this way if there is a programming issue or the client has questions, they can sit in front of their computer and phone Lightmoves. They can then log on to their system and see exactly what is happening on their computer screen making changes that the client can see in real time. So rather than a one or two hour call-out, most often a ten minute phone call solves any of the initial bedding in problems and client training issue.
Many of the design and installation groups continue to be involved with Melbourne Museum on varied new projects. However one of the most significant achievements from this project has been the relationship built between the various contractors and the Museum's Technical Operations crew. These have been invaluable with the ongoing development, installation, lighting design, operation and maintenance of all the exhibitions and exhibition spaces across the museum. With these, their Lateral Display System and with on site knowledge and practical experience the museum's team are able to continually reveal and renew the exciting subjects of Melbourne Museum.
Technical Information
Lighting Design: Vision Design Studio, Bluebottle, Barry Webb & Associates
Lighting Fixtures :
Australia Gallery: 36 x Reggiani Eidos 2621 low voltage spot, 22 x Erco Eclipse 75 326 low voltage spot, 95 x Selecon Accent Profile, 2 x Selecon Compact 6 PC, 38 x Selecon Acclaim Flood, 41 x Selecon Aureol, 7 x Selecon Acclaim 4 way Cyc flood, 7 x Selecon Zoom Profile 650w, 7 x Selecon Acclaim PC 650w, 14 x Martin MAC 250, Intralux Xenflex strip lighting, 53 x Megalit Rastaf 125, 2 x ECC Lighting fibre optic driver 150w
Te Pacifica: 27 x Selecon Pacific 600w, 11 Selecon Aureol, 34 x iGuzzini Woody spot
Bunjilaka: 25 x Selecon Acclaim Flood, 230 x Selecon Aureol, 2 x Selecon Pacific 600w, 75 x Megalit Rastaf 125, 23 x Selecon ceiling recessed Aureol, 5 x Intralux Slite Minature SL108 8w FMT2, 7 x Lampada adjustable downlight
Foyer, Walk & Galleria: 16 x ECC Lighting fibre optic driver 12v 75w, 5 x ECC Lighting fibre optic driver 150w, 12 x Selecon Aureol, 18 x Parcan 64, 3 x Selecon Zoom Profile Axial, 16 x Selecon Acclaim PC 650w, 12 x Selecon Accent Profile, 2 x Selecon Acclaim Flood
Children's Museum: 36 x Selecon Accent Profile, 12 x Selecon Aureol, 1 x Gamma Illumination 150w HQI/TS, 3 x Selecon Acclaim PC 650w, Intralux Xenflex strip lighting, 35 x Megalit Rastaf 125
Evolution Gallery: 3 x Selecon Acclaim Flood, 99 x Selecon Aureol, 4 x Selecon Pacific 600w, 14 x Megalit Rastaf 125, 19 x Selecon ceiling recessed Aureol, 141 x low voltage 12v 50w case light, 1 x Studio Due City Color, 3 x ECC Lighting fibre optic driver 12v 50w
Mind & Body Gallery: 16 x Erco Eclipse 75 326 low voltage spot, 72 x Selecon Accent Profile, 60 x Selecon Acclaim Flood, 54 x Selecon Aureol, 3 x Selecon Astral Condenser Profile 150w, 3 x Selecon Acclaim PC 650w, 39 Reggiani Eidos 2621 low voltage spot, 23 low voltage 12v 50w case light, 12 x Selecon Fresco Flood, Intralux Xenflex strip lighting
information: www.melbourne.museum.vic.gov.au
When contacted by mondo*arc, despite working 16 hour days on the National Gallery of Victoria, Vision's Steve Brown recalled their Melbourne Museum brief. "Insofar as the building was concerned, the lighting was there to support the architecture as a series of interconnecting planes, it was never the aim to make the light fittings stand out. As far as the architecture was concerned, they were mainly invisible, but the effect was important. The lighting designer needs to appreciate many aspects of the space. Its form and function, the users and observers, all need to be considered. The design should understand the constraints and maximise the features of the project. The Design Solution must be practical, should be easy to implement, and simple to maintain. It should also be elegant, and utilise innovative techniques where appropriate." He also deftly elucidated one of the most interesting and unique elements of the Melbourne Museum project: "In terms of internal lighting, definitely the galleries, and the diversity of them: 'Art is everything, technology is nothing'. The lighting design together with the rest of the design team must approach Gallery lighting with this as their guiding philosophy. When patrons visit a Gallery they should be awed by the Gallery contents, not the Gallery or the technology it uses to present the artefacts. Unlike the architectural lighting procedure which has easily definable stages (Concept Design, Design Development etc.), we have found that gallery lighting design tends to have slightly more blurred boundaries. The lighting scheme is best understood in the context of several presentations indicating the work in progress, a journey on which the Gallery Designers and the Lighting Designer travel together."
Control: Dynalite system installed by Lightmoves
Lower ground foyer: 10 x Selecon Accent Profile