Light, Object, Display Case — Finding the Right Balance Is an Art in Itself
June 18, 2026
with Katrin Söncksen, lichttransfer
Project: The Stabi Kulturwerk at the Berlin State Library, Unter den Linden
Project: The Stabi Kulturwerk at the Berlin State Library, Unter den Linden
Photos © Christoph Eyrich
The Permanent Exhibition at the Stabi Kulturwerk of the Berlin State Library
The permanent exhibition at the Stabi Kulturwerk covers around 700 sqm of exhibition space and tells the more than 360-year history of the Berlin State Library through highly sensitive original objects, manuscripts and archival materials.
The exhibition traces the development of the library since its foundation in 1661 and highlights its close connection to political and social change — from Prussia and the Second World War to the division and reunification of Germany.
Rare exhibits from the collections of the Berlin State Library give visitors a vivid impression of this history, making cultural memory visible, tangible and accessible through original objects.
Rare exhibits from the collections of the Berlin State Library give visitors a vivid impression of this history, making cultural memory visible, tangible and accessible through original objects.
Sehner in Conversation with Katrin Söncksen, lichttransfer Berlin. Together, we explore how light can be precisely integrated into display cases — and share key insights and practical experience from the field.
Since 2006, lichttransfer Berlin has stood for sophisticated lighting design in museum and exhibition contexts. For Katrin Söncksen, light is not an add-on, but an integral part of the design.
Her approach is shaped by a refined sense of effect: often, the optimal solution lies within a very narrow range that can only be reached through careful testing, including variants, and close coordination. Even the smallest adjustments can decisively influence how a space is perceived.
Her approach is shaped by a refined sense of effect: often, the optimal solution lies within a very narrow range that can only be reached through careful testing, including variants, and close coordination. Even the smallest adjustments can decisively influence how a space is perceived.
The coordination, the process of testing together and even unusual ideas are among the most exciting aspects of lighting design for me. Every exhibition brings new challenges — new objects, new spaces, new questions. In the end, it is always about creating a coherent overall image.
Katrin Söncksen, lichttransfer Berlin
Katrin Söncksen, lichttransfer Berlin
Her path led from lighting consultancy and architectural studies into museum planning — with a clear focus on making visible what is often overlooked.
In practice, this means that light is not considered retrospectively, but developed from the very beginning as part of the overall system — in dialogue with the object, the space and all project participants.
Every exhibition presents a new task. The aim is to make cultural heritage visible in a way that keeps perception and protection in the right balance.
In practice, this means that light is not considered retrospectively, but developed from the very beginning as part of the overall system — in dialogue with the object, the space and all project participants.
Every exhibition presents a new task. The aim is to make cultural heritage visible in a way that keeps perception and protection in the right balance.
- Question:From your perspective, what was the greatest challenge in the lighting design for the Stabi Kulturwerk at the Berlin State Library?Katrin Söncksen:The challenges were both atmospheric and technical.
We worked in very dark rooms, with predominantly almost black surfaces. In such environments, even low light levels on bright surfaces can quickly appear too bright. At the same time, the exhibits had to remain the brightest areas in the room in order to guide visitors’ attention in a targeted way.
Technically, the situation was demanding because the display cases had already been defined in terms of size and position. This significantly restricted the positioning of the lighting and required very precise planning. - Question:What makes paper particularly sensitive when it comes to light?Katrin Söncksen:Paper is extremely light-sensitive. There are clear requirements, often with an illuminance limit of max. 50 lux, to prevent yellowing or fading.
But it is not only the lux value that matters — perception is just as important. Surfaces, surrounding colours and contrasts all influence how bright an object appears.
With modern LED technology, we can now work significantly below these limits — often at 30–35 lux in the Stabi Kulturwerk — while still achieving good legibility and detail perception. This is a major improvement compared with earlier systems.
- Question:How do you balance conservation requirements with visual impact — and when does light become “too much”?Katrin Söncksen:Conservation requirements always take priority.
It is not about maximum brightness, but about targeted perception. Light becomes too much when it causes glare, creates reflections or destroys the material quality of an object.
Often, the solution lies in contrast, not intensity. The exhibit must stand out clearly while the room recedes.
Sometimes the smallest adjustments — a different angle or minimal dimming — determine the entire result. There is a very narrow range in which everything works optimally.
Katrin Söncksen, lichttransfer Berlin
Katrin Söncksen, lichttransfer Berlin
Right at the Centre as Specialist Planner
- Question:At what point does coordination with the display case become decisive for the result?Katrin Söncksen:Ideally, very early.
In practice, however, this often happens too late — in around 90% of projects. By that stage, many parameters have already been defined: display case heights, depths and access points.
These factors directly influence lighting design. The relationship between height and depth is decisive for the way light is guided.
A display case should therefore always offer several possibilities for lighting presentation — different angles, distances and positions. This flexibility is central. - Question:How did the on-site lighting setup work?Katrin Söncksen:It was very detailed and time-consuming.
We had around 400 mini spotlights, each of which was individually focused. Every spotlight was individually aligned and dimmed. For larger paper-based works, we often used four to six light points with different optics from different directions.
In addition, there were around 70 light tubes in table and drawer display cases, which also had to be aligned and adjusted in brightness.
The process took several weeks. It involved constant coordination — measuring, visually assessing and readjusting.
Ideally, every spotlight is individually controllable and can be dimmed flicker-free. This precision is crucial.
Light is perception and guidance, not just illumination.
Katrin Söncksen, lichttransfer Berlin
Katrin Söncksen, lichttransfer Berlin
- Question:What role does the technology play in this?Katrin Söncksen:The right technology is the foundation.
Flicker-free dimming, precise control and stable lighting conditions are essential. At the same time, the technology has to be integrated into the overall system — including security requirements such as concealed opening mechanisms or alarm systems.
These conditions directly influence the possibilities for positioning the light. - Question:What happens after installation — especially when exhibits change?Katrin Söncksen:The work does not end when the exhibition is completed.
At the Berlin State Library, for example, some exhibits rotate. This means that display cases have to be re-lit on a regular basis. The conservators were trained for this.
Setting up the lighting is time-consuming, but it also creates a better understanding of light. Often, individual people develop a particular sensitivity for it — and that is very valuable.
Early coordination of light, display case and concept is crucial.
We would like to thank Katrin Söncksen and lichttransfer Berlin for the open exchange and the insights into the practice of lighting design in museum and exhibition contexts.
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