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宁波董辅礽故居博物馆

董辅礽先生是中国经济学界先驱者与大师，博物馆位于一栋历史文化保护建筑里，是董老师出生所在的外婆家，属民国砖木结构，共两进两层。主要展示董老师的经济学学术成果，并结合经济学发展，定期在此举办经济学沙龙论坛。

由于董先生的“老师”身份、博物馆中国传统民居特性以及空间中情感表达为主的考量，设计师以“隐性的光”来面对这个空间，通过照明的主动介入和独特视角，以光的代入感赋予空间生命力，激发到访者情感共鸣。人们在柔和光线的指引下，不仅是参观展览，更像是做客于老师家中的学生，于事迹和生平的回忆交流之中，交换彼此对于董老师的怀念与敬意。

博物馆入口处借助巧妙框景，董老师铜雕像被清晰呈现。照明特别增加2支具有调焦和单灯调光功能的投光灯，一幅董老师在月光下看书的场景生动呈现。配合框景墙上波浪形的发光文字，时空穿越之感更加强烈。走廊线性灯被巧妙隐藏，光线以自然的状态弥漫空间，弱化了灯具的存在，与空间有机融合。

博物馆序厅屏幕两侧的两盏灯，既避免对视频观看的干扰，也制造出仪式感。细致的光线铺洒在厅内仅有的一把椅子上，与浓重的影子构成一幅生动画面，引发观者无尽思索。

空间内多处位置特别定制设计了灯笼，设计师借由这种去除展陈空间程式化照明方式的方法，为到访者带来“家”的亲近和温馨。暗藏在架空地面之下的线性灯让原有的粗糙石材变得立体，也将家的朴素感准确呈现，映衬出董老师“斯是陋室惟吾德馨”的境界。

为了避免落入展陈空间照明设计的窠臼，设计师在二楼开间立柱两侧增加宽光束角上照壁灯，同时以精心设计的光对书房、客厅各种予以强调，使其更加符合董老师所在年代居所空间的光影关系。空间背景的“点滴之恩”装置仅用一支灯照亮中央，光随着涟漪造型蔓延开去，制造了极具记忆特征的视觉焦点，也借此暗喻董老师扩散开来的思想和影响力。

教育贡献主题展厅中，深得董老师真传的64位博士生将自己与老师的情感装进盒子内，巧妙增加的结构将盒子点亮，并以天花上4度光束角射灯精准照亮每一份内容，意喻星星之火、薪火相传。

转身出门，忍不住回头看，夜已深，董老师仍然端坐在小院内，光影交错如初。当人们终于离开，董老师的“家”复归平静，室内透出的温润灯光和小院融于一体，朴素但温暖人心。

Dongfureng House Museum，Ningbo

Mr. Dongfureng is a pioneer in economy research in China. The museum locates in a historical building, which was his grandmother’s home in which Dong was born. The building contains brick structure of ROC style. The premise covers areas of 285㎡, while the building itself covers 435㎡ and contains two structures. It mainly displays economic researches of Dong. Economy forums regarding contemporary development have been hosted here periodically as well.

Considering Dong’s occupation as a teacher, and the museum’s traditional Chinese style along with its emotional expression, the designer utilizes “recessive light” in the space. Through the introduction of lighting and unique perspective, one generates a sense of living, and inspires the emotional resonance from visitors. Under the guidance of mellow lighting, guests are not simply visiting. They have become the students who come to the teacher’s residence, exchanging their own thoughts and gratitude for Tung.

The entrance of museum depicts the bronze statue of Dong through careful framing. The lighting system includes two spotlights which posses focusing and single-light adjustment function, which enhance the scene in which Dong read under moonlight. The wave-like glowing letters on the wall increases the sense of time flowing as well. The linear lighting on the corridor has been deftly hidden. Light flow through the room naturally, while decreasing the presence of lighting installation and integrating with the environment.

The two lights installed along both sides of the screen prevent viewers from being disturbed while generating a ritualistic sensation. Delicate beams shine upon the only chair within the hall, creating a lively image through dense shadow.

Many lanterns are installed specifically in various corners indoors. The designer removes systemized lighting in this way, enabling visitors to feel like home. The linear lighting under the elevated floor enables the existing rough stonework, reflecting the simpleness of home and Tung’s philosophy.

In order to avoid problems of lighting display, the designer adds wide upward lamps on the second floor. He also enhances the lighting on study and living room, making lighting and shadow fit with the design in Dong’s era. The “Gratitude” device illuminates the center with a single light, while beams spread in ripple shape, forming unique visual focus, and reflecting Dong’s influence.

In the display hall of educational achievement, sixty four PhD students who take after Dong inject their sentiments for their teacher into the box. The box is illuminated by four-degree spotlights on the ceiling, resembling the passing of torch.

When one turns at the entrance, one could almost see Dong who sat in the yard through shadow and lighting. Dong’s home resumes its quietness when visitors depart, while the warm indoor light melts with the yard, creating a heart-warming scene.