Museum and art gallery projects are special spaces where natural stone needs to slightly pull back its own voice and bring the voice of the artwork to the fore. Here, marble does not take the leading role of the space. It assumes the role of a calm background supporting the painting, sculpture or historical object on display. When an architect or curator contacts us for a museum project, this is the first thing we talk about. What is the program of the space, what types of works will be exhibited, how will the lighting setup work, in which direction will visitor flow go. While supplying natural stone to different cultural projects for three generations, what we have learned is clear: museum marble is the marble that does its job without being noticed.
Non-reflective finish is the starting point of museum supply. The bright surface reflects the lighting on the ceiling, the display case glass, and the artwork itself, and creates an uncontrolled light distribution in the space. Honed, i.e. matte finish, gently absorbs light and does not place any reflection in front of the exhibited work. For this reason, the honed finish is preferred in almost all museum and gallery projects. At our solution partner processing facilities, the honing degree of the slabs is adjusted according to project requirements. In some projects, fine honing that leaves a silky feel is requested, in some projects, thick honing requiring a completely matte texture is preferred. During the supply stage, we clarify together with the curator or lighting designer which level of honing will be selected.
Floor supply is the largest item of museum projects. Exhibition halls, hall and passage areas, lobby surfaces, when woven with a single natural stone language, the visitor's eye is not divided by the clutter of the space but focuses on the works. In these projects, Pure White and White Dolomite are the types we most frequently supply. The calm vein of Pure White responds to the modern gallery concept, while the stable surface of White Dolomite responds to intense visitor traffic. The floor thickness is generally kept at 2 centimeters, but in projects using heated floor systems, we re-evaluate the thickness together with the architectural team by performing thermal conductivity calculations. The preference for large format slabs is also dominant in museum flooring. Sizes such as 80x80, 80x160, even 120x240 both reduce the amount of joints on the floor and give a peaceful flow to the space.
Wall panel supply is a separate discipline of gallery architecture. The wall on which the work will be hung is the stage behind the work. This stage should appear plain, not draw attention to itself. For this reason, in wall panels, we recommend marble types with low vein density and calm tones. The Pure White wall panel sets up the silent background of the exhibition hall. In some curatorial approaches, when contrast is wanted to be created for a specific collection, the veined surface of Classic Marmara is preferred, but this choice always emerges as a curatorial decision. When the wall panel is supplied, we also proceed in coordination with the hanging system of the works. Issues such as the channels that need to be opened on the back surface of the panel for hidden hook systems, how the hanging rails will sit on top of the panel, where the cables will pass through are shared with solution partner processing facilities from the outset.
