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地 区：的里雅斯特 意大利
Location : Trieste, Italy
客 户 ：Municipality of Trieste
Client：Municipality of Trieste
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市民海事博物馆的新家位于的里雅斯特的韦基奥港（旧港）的重新开发区，该区有一系列以前用作仓库的翻新建筑。这些都是历史建筑，更具体地说，博物馆已经搬迁到26号仓库的北翼，这将成为一个真正的科学博物馆综合体。
The Civic Maritime Museum’s new home is in the redeveloped area of Trieste's Porto Vecchio (Old Harbour) that features a series of renovated buildings that were previously used as warehouses. These are historic buildings and, more specifically, the museum has been relocated to the North Wing of Warehouse 26, that will become a real science museum complex.可变性和动态性是该项目背后设计思想的基础。事实上，这种布局允许元素不断重复使用，因此可以根据需要容纳新的展品和叙事。这座历史悠久的存储设施已被恢复和翻新，功能齐全，可容纳博物馆藏品，向公众开放，并展示的里雅斯特市民海事博物馆作为保护和研究场所的元素，其中包括一个工作室、“马里奥·马扎里”专业图书馆和办公室。
Mutability and dynamism are the basis of the design thinking behind this project. In fact, the layout allows elements to be constantly reused, so new exhibits and narratives can be accommodated as required. This historical storage facility has been recovered and refurbished in a highly functional way to house the museum collection, open it to public use and exhibit the elements that establish the Trieste Civic Maritime Museum as a place of conservation and study, featuring a workshop, the "Mario Marzari" specialist library and offices.该项目基于经典的艺术品储存板条箱，即博物馆储藏室中常见的典型木箱。这些元素可以通过各种方式组合在一起，形成具有不同效果的展览空间。根据博物馆展览和展品的需要和轮换要求，板条箱可以成为容器、陈列柜或背景。布局概念将博物馆空间设想为一种大型后台工作室。因此，这些通常公众无法进入的区域变得生动起来，成为学习、分享和让游客发现博物馆生活中鲜为人知的方面的地方。
The project is based on classic artwork storage crates, the typical wooden boxes commonly found in museum storerooms. These elements can be assembled in various ways to shape the exhibition space with different effects. The crates can become containers, showcases or backdrops according to the needs and rotation requirements of the museum’s exhibitions and exhibits. The layout concept envisages museum spaces as a kind of large backstage workshop. The areas, usually inaccessible to the public, therefore, come alive and become places for learning, sharing and allowing visitors to discover little-known aspects of museum life.
建筑师Pedron与博物馆的策展人和保护人Andrea Bonifacio和Silvia Pinna合作确定的照明解决方案，通过使用有限类型的灯具，在整个房间营造出一种同质感。其中包括：Underscore no-dot LED灯带、View and Light Shed灯具，这些灯具根据不同的房间和不同的自然光照比而变化。整个系统使用BLE-DALI系统进行操作。The lighting solutions identified by architect Pedron in collaboration with the museum's curators and conservators, Andrea Bonifacio and Silvia Pinna, create a sense of homogeneity throughout the rooms by using limited types of luminaire. These include: Underscore no-dot LED strips, View and Light Shed luminaires with optics that vary according to different rooms and different natural lighting ratios. The entire system is operated using a BLE-DALI system.![]()
博物馆体验从电梯到三楼开始，游客发现自己在一个房间前的大厅里，展品沿着平行的走廊展出，走廊由浅色的大木箱制成。这些板条箱形成隔板，在某些情况下甚至可以作为展品的陈列柜。这种风格延续在大型板条箱状的木板上，用于指示博物馆的各个部分。The museum experience begins with a lift journey to the third floor where the visitor finds themselves in a hall in front of a room in which exhibits are displayed along parallel corridors, created by large, light-coloured wooden packing crates. These crates form partitions and in some cases even act as showcases for the exhibits. The style is continued in the large, crate-like wooden panels used to indicate the various museum sections.![]()
整个区域的照明由相互平行的轨道系统创建，如走廊，在走廊上安装了View Opti Beam圆形射灯，配有45°防眩光罩和蜂窝网，以解决任何眩光问题。The lighting throughout this area is created by a system of tracks that run parallel to each other, like the corridors, on which View Opti Beam round projectors have been installed with 45° visor and honeycomb louvres to resolve any glare issues.用于展示展品的陈列柜的设计和建造已经进行了大量工作。有四种不同的类型，并为每种类型开发了特定的照明系统。A great deal of work has gone into the design and construction of the showcases used to display the exhibits. There are four different types, and a specific lighting system has been developed for each of them.第一种类型的陈列柜展示放置在支撑结构上的物品，支撑结构又放置在板条箱上，但没有被玻璃覆盖。在这里，照明是由轨道安装的View射灯创建的，该射灯根据展览类型安装了不同的配光。从宽光到窄光，这是该展区最常用的配光。
The first type of showcase displays objects resting on support structures, which in turn rest on crates, but are not covered by glass. Here, the lighting is created by track-installed View projectors fitted with different optics according to the type of exhibit. These range from Spot to Medium optics, which is the type of optic most used in this exhibition area.
第二种类型的陈列柜（T2）是全玻璃的（除了底座）。这里的照明是由安装在轨道上的View射灯创建的。在某些情况下，为了展示选定的展品，Palco LV∅19 mm灯具作为补充，安装在杆上并放置在展品内。
The second type of showcase (T2) is fully glazed (except for the base). Here the lighting is created by View projectors mounted on a track. In certain cases, displaying selected exhibits, these are supplemented by Palco LV ∅ 19 mm luminaires, mounted on rods and positioned inside the showcase. 第三类展品（T3）是非常大的展品，里面陈列着博物馆的船模。在这里，照明集中在其中一个玻璃面上。调光Undercore无点射灯已安装在主玻璃面的四个边缘上（且仅安装在该面上），并通过外部视图投影仪创建的重点照明进行补充，这些射灯经过精心瞄准，以避免在玻璃中产生反射。
The third type of display (T3) are the very large showcases that house the museum’s ship models. Here the lighting is focused on one of the glass faces. Dimmed Underscore no-dot luminaires have been installed on the four edges of the main glass face (and only on this face) and these are supplemented by accent lighting created by external View projectors that are carefully aimed to avoid generating reflections in the glass.第四种类型的陈列柜（T4）有三个封闭的侧面和一个开放的玻璃侧面，可以是正面或顶部。对于这种类型的展示柜，两个Underscore无点LED条被放置在木框架后面。在这种情况下，Underscore灯具安装在不同面的边缘，而不是仅安装在一个面上，并由Palco LV∅19 mm灯具进行补充。唯一没有使用Palco导轨射灯的情况是一个装有书籍的陈列柜，其中只有Underscore灯具用于限制曝光。
The fourth type of showcase, (T4) has three closed sides and one open, glazed side, which can be either front or top. For this type of showcase, two Underscore no-dot LED strips have been positioned behind a wooden frame. In this case, the Underscore luminaires have been installed on the edges of various faces instead of just one, and they are supplemented by Palco LV ∅ 19 mm luminaires. The only situation in which Palco projectors have not been used is a showcase containing books, where only Underscore luminaires are used to limit light exposure.
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在博物馆的这个区域，自然光的摄入量为零，因为屋顶上的天窗都安装了遮光玻璃。这层楼的另一边是博物馆图书馆、档案馆、办公室、车间和储藏室。图书馆是一个配有桌子的空间，可以在那里查阅其书籍，而博物馆档案馆的访问权限有限。这个区域有一个很大的玻璃隔板，后面进行修复工作。游客可以从提供的长椅上观看。In this area of the museum, the natural light intake is zero as the skylights on the roof have all been fitted with obscured glass. The far side of this floor houses the museum library, archive, offices, workshops and storage room. The library is a space equipped with tables where its volumes can be consulted, whereas there is only limited access to the museum archives. This area features a large glass partition behind which restoration work is carried out. This can be viewed by visitors from the benches provided.
整个区域的照明系统与展览区相同。它的特点是黑色轨道安装的View Optibeam圆形射灯，配有护目镜、蜂窝百叶窗和主要的超宽光配光。这里有更多的自然光，所以这两个成分经过了仔细的平衡。该系统由BLE DALI控制，所有场景都由建筑师Pedron设计，展区与图书馆、修复和存储区的设置略有不同。
Throughout this area the lighting system is the same as in the exhibition section. This features black, track-mounted View Optibeam Round projectors fitted with visors, honeycomb louvres and mainly Wide Flood optics. There is more natural light here, so the two components have been carefully balanced. The system is BLE-DALI-controlled, and all the scenarios are designed by the architect Pedron with a slight variation between the exhibition area and the set-up for the library, restoration and storage area.![]()
通过避免安装新的电缆线路，使用BLE技术大大简化了布线问题。已经创建了四个场景：常规关闭；清洁：所有灯具100%清洁；日间：常亮，调光60-65%；晚上为75-80%。该设置满足不同的时间框架要求，由博物馆技术人员设置。两个无线控制面板：一个在展区，一个在工作区，以相同的方式设置。
Using BLE technology has significantly simplified wiring issues by avoiding the installation of new cable runs. Four scenarios have been created: General off; cleaning: in which all luminaires are at 100%; daytime: always on with dimming at 60-65%; evening at 75-80%. This setting meets different time frame requirements and has been set by the museum technicians. The two wireless control panels: one in the exhibition area and one in the work area, are set in the same way.
在展区，BLE接口直接位于轨道上和每个展示柜内。这允许单独控制每个照明器（总共238个）。由于窗户的位置和板条箱的布局，没有太多的自然光到达展览区的中心区域。尽管如此，将灯具调暗60-65%会产生极其均匀的光效。
In the exhibition area, the BLE interface is positioned directly on the tracks and inside each showcase. This allows each luminaire (a total of 238) to be controlled individually. Not a lot of natural light reaches the central area of the exhibition section due to the position of the windows and the layout of the crates. Despite this, dimming the luminaires by 60-65% creates an extremely homogeneous light effect.
在工作区域，有几个天窗，因此自然光的流入量相当高。在该区域，BLE接口仅安装在轨道上。另一方面，在办公室和阅览室，使用了配有宽光配光的Light Shed。在这里，为了创建一般的灯光效果，照明系统被组织成用于搁架的组和用于走道的组。然而，在玻璃隔断后面的修复师使用的两个工作台上，射灯产生的光束被故意交叉，以限制阴影效果。
In the work area, there are several skylights and the inflow of natural light is therefore quite high. In this area the BLE interface is only track-mounted. In the offices and reading room, on the other hand, Light Shed luminaires fitted with General Lighting optics have been used. Here, to create a general light effect, the lighting system is organised into groups for the shelving and groups for the walkways. Whereas, on the two worktables used by the restorers operating behind the glass partition, the light beams created by the projectors have been deliberately crossed to limit shadow effects.
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