This research explores a proposal for natural light restoration design for exhibition spaces in the Ein Harod Museum of Art. The original design and method of introducing daylight are described and their mechanisms depicted. The reasons for recent modifications, mostly due to conservation demands, and their impact on light quality are discussed. Owing to the Museum's unique design achievement and the worldwide influence on late twentieth century museum architecture, the research emphasizes the necessity for a light restoration project. The applied approach of introducing light also invites rethinking the current paradigm of using natural light in art exhibition spaces. Restoration objectives are determined and a design based on laser cut panels (LCPs) technology is proposed. Sets of experiments are presented: devising a LCP gable roof form geometry; analysing LCP daylight performance; and examining the original design. Finally, the performance of the proposed design is studied and is shown to be adequate for current conservation demands. Both quantitative and qualitative experimental methods were used: radiance light simulations, scale model measurements using photography, high-dynamic-range imaging photography (luminance levels) and HOBO data loggers. The findings propose integrating a louver system together with an LCP roof structure, a combination that restores daylight performance and preserves the quality and spirit of the original design.
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