APT Museums in Historic Buildings Committee

APT/AIC
Guidelines for Light and Lighting in Historic Buildings that House Collections

On 5-7 November 1998, The Association for Preservation Technology (APT) International and the American Institute for the Conservation of Historic and Artistic Works (AIC) hosted its third symposium on museums in historic buildings as part of APT’s thirtieth-anniversary conference in Williamsburg, VA. This event focused on the theme of “Light and Lighting in Historic Buildings that House Collections,” and included a number of presentations and discussions on this topic. It concluded with a lively forum during which the draft guidelines that were distributed to participants at the beginning of the symposium were reviewed, debated, and refined. The comments made during this forum have since been integrated into the guidelines that follow.

Problems of light and lighting in historic structures that house collections have often been seen as someone else’s concern. Collections conservators make recommendations for visible and UV light levels, and for filtration. Architectural conservators work on repair or replacement of windows and on historic fixtures. Curators search for historic fixtures, and ask for “better” or more light. But there is rarely a combined effort, or even much discussion, about the function of light in a particular structure or collection, or about the role light may have played in the original design and enjoyment of a particular space. In rare circumstances, when the wishes of the architect or designer are easily known, there may be an automatic reaction against changing anything, even when the preservation of the artifacts housed within are thereby endangered. Then a situation is created where the collections conservator takes a stance on one side, to “protect the collections” and those advocating for the structure take the opposing stance – to protect the structure and its original design.

As in other areas where there may be differing opinions and different requirements, the New Orleans Charter may serve as a framework for the resolution of potential conflict.

1. Initially the institution must recognize that light, and the many functions it may play in an interior, are of critical importance to the mission of the institution. These may include: the portrayal of the interiors in a state as close to their original appearance as possible; the preservation of original artifacts and structural fabric; and the interpretation of these materials to the public.
2. Adequate study of all aspects of the problem is essential. This does not mean just an understanding of the deleterious effects of light on artifacts, but a deeper investigation into the particular needs of the specific artifacts under discussion, as well as a careful investigation into the original appearance of the interiors and the role light may have played in that appearance.
3. Participation by a variety of individuals is necessary to address these different aspects of the task. Curator, lighting designer, collection and architectural conservators, interpretive staff, etc. should be included.
4. The dedication to “original appearance” must be balanced against the known risks associated with light exposure. Especially important is the need to include the possibility of shifts in natural light, or the possibility that light (levels, color, etc.) should be changed to accommodate a variety of needs.
5. The needs of visually impaired visitors must be accommodated, while understanding that this accommodation may involve temporary changes rather than permanent ones.
6. Plans to provide or control natural and artificial light must be designed to answer the specific needs of a situation rather than based on a generalized plan developed from other situations.

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