Project team:

Client: Human Rights Commission of Chile; Ministry of Public
Works, Architectural Division
Architects: Estudio América – Carlos Dias, Lucas Fehr y Mario
Figueroa (Brazil) and Roberto Ibieta (responsible for technical planning
and project architect in Chile)
Lighting design: LLD Limarí Lighting Design – Pascal Chautard,
Francisca Nicoletti, Carolina Roese.
Construction company: Comsa de Chile


Products applied:

Exterior/end facades:
Willy Meyer+Sohn 8873.061.000 150 Watt HID 3000K
Exterior/low-level spotlights on the square:
Ligman Rado Square 40363 18 Watt 3000K
Exterior/square: Supralight Soft 150 Watt HIT 3000K
Ramp/spots for the mural:
Erco Jilly 77.312.000 150 Watt/220V QT-DE
Lower floor/world map, ticket office:
Targetti CCT Flash T54012D 2x 26 Watt 3000K
Targetti CCT Flash 46990 2x26 Watt 3000K
Spotlights for the portrait wall:
Erco Lightcast 81.649.000 150 Watt HIT 3000K
LED candles: Philips 7 Watt Master LEDs E27 3000K, dimmbar
Base lighting: Targetti CCT Flash T54012D 2x 26 Watt 3000K
Track-mounted fixtures:
Erco, Jilly 77.312.000 150 Watt/220V QT-DE;
Designed Architectural Lighting Baltic 64005 100 Watt/12V HAL

05. Oct 2011

¡Nunca más! – Never again!
The Museum of Memories and Human Rights in Santiago de Chile/RCH

Text: Joachim Ritter
Photos: Alfredo Cacciani

The mists of the past are slowly beginning to clear in the Chilean capital. Twenty years have elapsed since the end of the military dictatorship in Chile. During the time under Augusto Pinochet’s rule more than 40,000 people were imprisoned, tortured and threatened, and over 4000 people were murdered. The Museo de la Memoria y de los Derechos Humanos is in memory of all the victims of the military regime and at the same time serves to remind the world that such terrible crimes should never be allowed to happen again. ¡Nunca más! The content of the exhibition is both factual and emotional. The team of designers from LLD Limarí Lighting Design contributed in their own way to support the message – using light. But it was not an easy ride.

You can spend hours walking through the museum, allowing the impressions to gradually sink in – from the military coup in 1973 to the referendum in 1988, which finally managed to guide Chile towards peace and democracy. Step by step the history of the dictatorship is told: in newspaper articles, pictures, children’s drawings, interviews with victims, articles of clothing, notes from people’s diaries. Hardly a day goes by when members of a victim’s family do not turn up at the museum with further memorabilia from those years of terror. The “Museo de la Memoria y de los Derechos Humanos” was opened on 11. January, 2010 by Michelle Bachelet, who was President of Chile at the time and herself a victim of torture during the Pinochet regime. Before the doors opened, however, the project went through a somewhat chaotic “Latin American” phase. To understand what that meant, we need to take a closer look at the history of the overall project. In June 2007 the Chilean Ministry of Public Works (Ministerio de Obras Públicas) launched an international competition inviting architects to submit designs for the Museum of Memories and Human Rights building, but without specifically designing the exhibition part. The winners were a team of Brazilian architects from “Estudio América” in São Paulo.
Only later, in April 2009, when the construction work was well underway did the client start looking for a design team to develop a concept for the exhibition. The architects’ firm Árbol de Color was commissioned to do the job, and they in turn took the lighting design practice LLD Limarí Lighting Design on board to undertake an evaluation and analysis of the lighting concept to date. The lighting designers presented the results to a complete, multidisciplinary team comprising the architects, clients (representatives from the Human Rights Commission) and various consultants and officials from the Ministry. The lighting designers demonstrated that the lighting concept currently planned for the building did not relate to the structure as a museum – neither from an architectural point of view nor with respect to the intended contents. On the contrary, there were a number of defects and inconsistencies that required attention. The client expressly wanted to create a suitable place for people to reflect on and come to terms with the events that had occurred during Pinochet’s regime of violence and terror, and lighting was to play a significant role in enabling this process.
LLD Limarí Lighting Design was commissioned to design the lighting for the museum at the time when the construction of the basement level was already complete and the central section was being built. The brief was twofold: on the one hand, the building owner wanted the architectural lighting to be adjusted – as far as this was possible and necessary – and on the other hand Árbol de Color wanted them to design the lighting for the exhibition spaces. […]


The full version of the article can be found in PLD No. 78.

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