Fayad had to fit this history into an 800-square-meter (8,611-square-foot) space. “Although relatively small in size, the Money Museum project was technically challenging,” Fayad says. It was located inside an existing 50-year-old building on Hamra Street, one of the busiest thoroughfares in the capital city. The project required major coordination among specialists in lighting, acoustics, security, and engineering. A big concern was preserving the paper banknotes from light exposure. It was decided that the exhibition space for the currency should be a secluded opaque box within the museum in order to shield the exhibit items from the abundant natural light 200 lux from the lobby. “Stringent light levels inside the exhibition space were set to a maximum of 50 lux for the permanent collection,” Fayad says.
Fayad turned to lighting designer Chérine Saroufim Sacy , assistant managing director and partner at Beirut’s Idepconsult. [See AL's Nov/Dec 2014 issue for a profile of lighting designer Chérine Saroufim Sacy. Read More. ] “Cherine had to meet these requirements while at the same time providing enough light to distinguish the banknotes’ colors,” Fayad says.
Sacy says that one of the greatest challenges in that regard was eye adaptation. “Lebanon has very sunny days, like California,” she says. “It’s bright even during the winter. Since we had to use 50 lux on the paper and light the currency so as not to damage it, we had to take the visitors from the door and the bright lobby and gradually lower [the] light levels so that once they got to the paper, they could see all the small details.”
Fayad had to fit this history into an 800-square-meter (8,611-square-foot) space. “Although relatively small in size, the Money Museum project was technically challenging,” Fayad says. It was located inside an existing 50-year-old building on Hamra Street, one of the busiest thoroughfares in the capital city. The project required major coordination among specialists in lighting, acoustics, security, and engineering. A big concern was preserving the paper banknotes from light exposure. It was decided that the exhibition space for the currency should be a secluded opaque box within the museum in order to shield the exhibit items from the abundant natural light 200 lux from the lobby. “Stringent light levels inside the exhibition space were set to a maximum of 50 lux for the permanent collection,” Fayad says. Fayad turned to lighting designer Chérine Saroufim Sacy , assistant managing director and partner at Beirut’s Idepconsult. [See AL's Nov/Dec 2014 issue for a profile of lighting designer Chérine Saroufim Sacy. Read More. ] “Cherine had to meet these requirements while at the same time providing enough light to distinguish the banknotes’ colors,” Fayad says. Sacy says that one of the greatest challenges in that regard was eye adaptation. “Lebanon has very sunny days, like California,” she says. “It’s bright even during the winter. Since we had to use 50 lux on the paper and light the currency so as not to damage it, we had to take the visitors from the door and the bright lobby and gradually lower [the] light levels so that once they got to the paper, they could see all the small details.”
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