Which discipline-modern art or lighting design-has experienced the most upheaval over the past eight years? The case for both can be found within the confines of the Museum of Modern Art in New York City. Exhibits, of course, have changed more frequently, but the lighting scheme in MoMA's restaurant The Modern has become just that, as LEDs have replaced the original halogen MR 16-based system.

在过去的八年中，现代艺术和照明设计两者，究竟谁经历了时代的变迁？这个问题可以通过一个案例解答，那就是位于纽约的现代艺术博物馆—MoMA。当然，展览的更换比较频繁，但MoMA餐厅的照明方案得以维持现代感，得益于原先的MR16卤素灯替换成为新的LED光源。

“We were approached by the original design architect, Bentel & Bentel, and the owner, Union Square Hospitality Group (USHG), to propose solutions to improve the lighting,” says Dan Weinreber, Kaplan Gehring McCarroll Architectural Lighting, E/Segundo, CA.USHG had a number of concerns with the original lighting, as well as a specific wish list for the new system. The first concern was the difficulty in maintaining the prior system-“the building engineering staff was not always available,” he says. Second, was reliability, as sockets in low-voltage xenon striplights had deteriorated over time and no longer worked, halogen MR16 downlights were somewhat difficult to change and fluorescent dimming ballasts were failing. Heat was the third factor: “Heat from MR16 halogens restricted the type of wine stored in the wine wall behind the bar.”

“我们是被原先的建筑师（Bentel & Bentel）及业主联合广场酒店集团（Union SquareHospitality Group--USHG）所推荐，来提供改进灯光的照明解决方案。“ Dan说道。Dan是KGM瑞国际照明设计的其中一位合伙人。业主USHG对于原先的灯光有一堆意见，并且对新的灯光方案有一张详尽的愿望清单。对于原有灯光系统的意见，首当其冲的就是维护的困难——“那些建筑工程技术人员可不是随叫随到的”。第二，是实用性。原先的氙气线条灯的插口已老化损坏，MR16卤素灯有时难以调光，荧光灯的调光镇流器也失效了，等等。第三个考量因素是散热。“原先MR16散发出的热量严重影响吧台后方的酒类储存。”

As for there trofit parameters, new lamps had to at least maintain the prior lighting quality and, in a busy restaurant, the retrofit had to be done quickly: “Work was to be done after hours and allow for restaurant’s continuous operation from lunch through late dinner every day,” say Weinreber.

至于改造替换的灯具参数，新的光源至少在灯光质量上不能比原来的（卤素灯）差，并且在如此繁忙的餐厅，这个改造必须速战速决：“改造工程必须在几小时内完成，且不能影响餐厅从中午到夜间的正常营业”，Dan说道。

Despite MoMA's affinity for most things modern, USHG wasn't exactly enamored of the latest in lamp technology, recalls Weinreber. “USHG owns/operates many restaurants and has tried other LED retrofits. They have been disappointed in the quality of light with some LED retrofit lamps in otherrestaurants,” he says. To gain their approval, “we orchestrated in situ mock-ups to convince the owner that LED provided the appropriate quality of light. Some mock-ups were wired directly to the existing control system to demonstrate and verify dimming performance. Our goal was to design a retrofit solution that would minimize any infrastructural work (wiring and ceiling demo). Because dimming is an absolute necessity, we set out to find LED replacements that would work with the existing centralized control system. This limited our fixture options but allowed us to avoid expensive new wiring or modifications to the Lutron dimming system.”

虽然MoMA和绝大多数现代事物都有着紧密的联系，但USHG并不十分信赖最新的灯光技术。Dan回忆说，“USHG也拥有（经营）很多别的酒店，并尝试使用过LED替换光源。他们对某些餐厅使用的LED替换光源的灯光质量感到失望。为了获得他们的支持，我们在模拟场景里演示灯光来说服甲方，让他们相信LED也可以提供优质的灯光。 一些实景模拟的灯光是直接接线到已有的控制系统来演示调光性能。我们的目标是设计一个替换方案，它能够最小化任何基础工程（布线和天花布灯的演示）。因为我们的设计出发点是找到能适应原有控制系统的LED替换方案，所以只有调光演示是必要的。这虽然限制了我们的灯具选择，但可以在改造过程中在线路和控制系统上节约造价。

LED lamps took over for halogen MR16s in the track fixtures, while concealed linear LED sreplaced exposed xenon striplights around the polished stainless steel columns.

轨道灯具内的MR16灯杯被替换为LED灯杯，同时，隐蔽安装的LED灯带取代了原先的氙气灯带，布置在抛光的不锈钢柱子顶部周围。

Once USHG signed off on LEDs, the bulk of the project involved swapping out all of theMR16s in recessed and track fixtures in the dining room for LED replacement lamps (the Vivid lamp from Soraa). The lamp was specified for its color rendering, color consistency, dimming and expected lifetime, says Weinreber.

当USHG确定使用LED之后，工程的主体工作就剩下替换餐厅内所有嵌入式及轨道式的MR16灯杯，将其替换为LED光源。其光源的选择标准包括其显色性、光色稳定性、调光及预期寿命。

Elsewhere in the eatery, LEDs replaced other sources, adding a dash of visual flavor throughout. In two applications, linear LEDs (Philips Color Kinetics) were installed behind undulating glass walls and in an in-floor trough. Linear LEDs(2,400K) were placed around the stainless steel columns that pierce the diningroom, in coves around the drop ceiling plane and in the bottle risers behind the bar. Meanwhile, the high ceiling recessed downlights in the dining room are now equipped with AR111 LEDs (Acuity)aimed at the tables.

在其他小餐厅，LED也替换了其他光源，同样也带来视觉上效果的提升。在其中两个地方，线性的LED（Philips CK系列）安装在波浪纹的玻璃墙后方，并且采用埋地的安装方式。另一个是线性的LED（2400K）安装在不锈钢表面的柱子顶部周围、天花板的周圈灯槽内以及吧台后方的酒架上。同时，餐厅高处天花的嵌入式筒灯也装上了AR111 LED，对下方的餐桌进行精准的投射。

After eight years, other areas of the dining room are now lighted for the first time. Flower arrangements on the dining room tables are accented by custom adjustable LED lights (Tokistar) mounted within existing metal skylight louvers in the high ceiling. Wait station LED task lighting (Albeo) was also added. “The entire front-of-house space is now LED,”says Weinreber.

在营业八年过后，餐厅的某些局部位置被第一次打亮。餐桌上的鲜花摆放利用安装在高处天花的定制可调角LED投光灯打亮，收银区同样启用了LED下照灯提供工作面照明（Albeo）。“目前，整个建筑的前部区域已全部替换为LED光源。”Dan说道。

The bar are ais replete with new sources, including recessed LEDs in the ceiling, linear LEDs in the bottle risers (inset) and linear LEDs behind the blue glass below the bar countertop.

酒吧区域的灯光均被替换为LED光源，包括天花板上嵌入式安装的LED筒灯，酒架区域的线性LED灯带，以及台面下方的蓝色玻璃后方的线性LED灯带。

项目指标：

功率密度：0.9 Watt per sq ft

光源类型：2种

灯具类型：15种

未经许可，严禁任何形式摘编、转载。KGM瑞国际照明设计拥有版权的内容，如需转载请联系编辑获得许可。