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Fig. 1 Different methods of admitting naiural light tram from above, (if end (j) Crow section.

above, (a) Cross section. (b> to ih] Cress sect«« and wiew r e ayes a nd re-

diversion, resting the visitor'! freshing his mind.

For this purpose it may be wise, oven where overhead lighting is adopted, to arrange a few lateral openings for the passing visitor.

Migh-plsced windows, especially if they occupy more than one wall, provide more light, more closely resembling that supplied by skylights, and leave all four walls free for exhibits: but as they must be pieced at a considerable height, if visitors ere not to be dazzled, the rooms must be comparatively lerge and the ceilings lofty. This means that considerable stretches of wall will be left blank, and building expenses will increase owing to the larger size of the rooms.

The lendency nowadays is to abandon uni*

form lighting in favor of light concentrated on the walls and on individual exhibits or groups of exhibits, which ere thus rendered more conspicuous and more likely to attract the visitor's attention. Consequently, instead of lighting the whole room, it is found prefereble to light the showcases from within, either by artificial lighting or by becking thom with frosted glass which admits daylight from outside.

This is a possibility which the architect of a small museum can bear in mind, making use of it in special cases end for objects (glass, ceramics, enamels, etc.) whose effect can be heightened by such lighting. But it enleils special structural features which may complicate the general budget.

Moreover, if the lighting system is too rigid.

too definitely planned to suit a particular setting and to establish certain relationships between that setting and the exhibits, it will form an impediment by imposing a certain stability, lending to reduce the museum to the static condition from which modern institutions are striving to emerge —the present-day being that a museum should make a lively, dynamic impression.

It therefore seems preferable, especially in small museums, to choose an intermediate system which can be adapted to varying needs and necessary changes, even if it thus becomes more difficult to achieve ideal results.

Utilization and Division of Space In designing a museum the architect will also be decisively in-

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