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Light in Architecture and Psychology of Light

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Light in Architecture and Psychology of Light Light In Architecture and Psychology of Light Designing with Light Designing with Light The majority of the information that we receive about the world around us comes through our • Light plays a central role in the design of a visual environment. eyes. • The architecture, people and objects are all made visible by the lighting. Light is not only an essential prerequisite, it is • Light influences our well-being, the aesthetic effect and the mood of the medium by which we are able to see. a room or area. Through its intensity, the way it is distributed and through its properties, light creates specific • It is light that first enables “what you see”. conditions which can influence our perception. Lighting design is, in fact, the planning of our visual environment. Our perception of architecture will be influenced by light: – Light defines zones and boundaries, Good lighting design aims to create – Light expands and accentuates rooms, perceptual conditions which allow us to – Light creates links and delineates one area from another. work effectively and orient ourselves safely while promoting a feeling of well-being in a particular environment. 1 2 Planning and Process Planning and Process: Schematic • The basis for every lighting concept is • Preliminary lighting concepts list the an analysis of the project… properties that lighting should possess. – the tasks the lighting is expected They may give no exact information to fulfill, about the choice of lamps or fixtures or – the conditions and special features their arrangement. of a space or work surface. • Further analysis provides illumination • When it comes to qualitative guidelines giving information about the planning, it is necessary to gain as individual forms of lighting… i.e. high light much information as possible about levels will need high performance fixtures the environment to be illuminated, how and lamps, etc. it is used, who will use it and the style • The challenge of a qualitative lighting of the architecture. design is to develop a design concept •A quantitative design concept can to that combines the technical and aesthetic Summary a large extent follow the standards laid requirements of complex guidelines. down for a specific task. • An understanding quality • A concept that delivers the required – standards will dictate how much versus quantity performance with a equal level of light is needed, technical expertise and the highest level • Art and Science – the degree of glare limitation, of artistic clarity will produce the most – the source color and color convincing solution. rendering. 3 4 1 Light In Architecture and Psychology of Light Planning and Process: Design Development Vision: We See Brightness • As the design phase progresses, The fact that a medium grey area decisions are made regarding: will appear light grey if it is bordered – the lamps and fixtures to be used in black, or dark grey if it is bordered – the arrangement and installation of in white. This can be explained by the fixtures the fact that the stimuli perceived – any required electrical and control devices are processed directly - brightness • The decision regarding lamp type can be The perception of brightness of the grey field is perceived as a result of the made at the beginning of a project or left depends on the environment - in bright lightness contrast between the grey until an advanced planning stage surroundings, an identical grey appears darker area and the immediate than in dark surroundings. • Lighting layouts (the plan) can be surroundings. What we are determined by the choice of a light fixture or could be the criteria for fixture considering here is a visual selection. impression that is based exclusively Summary • Lighting design process should be seen on sensory input which is not • Utilization of Space as a “back and forth” check in which influenced by any criteria of order developed solutions are repeatedly linked with our intellectual • Psychological Requirements compared to the predetermined goals • Architecture and Ambience and requirements. processing of this information. 5 6 Lighting Effects: Shadows and Gradient Lighting Effects: Shadows and Gradient The continuous luminance gradient across A non-continuous luminance gradient the surface of the wall is interpreted as a across a surface may create confusion, property of the lighting. The wall miss-information, or the perception of reflectance factor is assumed to be darkness / gloom – or is this drama? constant. The grey of the sharply framed picture is interpreted as a material property, although the luminance is identical to the luminance in the corner of the room. Changing luminance levels may arise from the spatial form of the illuminated object; examples of this are the formation of typical shadows on objects such as cubes, cylinders or spheres. 7 8 2 Light In Architecture and Psychology of Light Lighting Effects: Illumination of 3D Objects Light and Perception Irrespective of size, a three-dimensional artifact must be illuminated from several different directions. Fixed objects produce retinal images of varying shapes, sizes and brightness. Light from multiple directions.. Due to changes in lighting, distance or perspective, this indicates that • models a sculpture mechanisms must exist to identify these • expresses depth by highlighting some areas while objects and their properties and to allowing others to fall into shadow perceive them as being constant. • different angles render material variations with lesser Combination Key, Fill, and or greater emphasis Back light Key light only Fill light only Back light only 9 10 Psychological Impressions Of Color Psychological Impressions Of Color Using warm and cool sources for Key and Fill light not only increases sense of shape and depth of an object, but assist with defining direction of light Cool Light And Warm Shade: Color also can provide information about an object's dimensions and depth. Our visual system assumes the light comes from above, we rely on our visual experience with nature to explain direction of light “visual experience tells us warm light comes from the interior illumination, a cooler light source comes from nature – daylight at day, Warm colors tend to advance Cool colors tend to recede moonlight at night” 11 12 3 Light In Architecture and Psychology of Light Types of Lighting Types of Lighting Direct Indirect 13 14 Forming Functional Zones Forming Functional Zones • Large areas that on the whole are evenly illuminated can appear rather monotone if they are not divided up. room illuminated evenly unlit room 15 16 4 Light In Architecture and Psychology of Light Forming Functional Zones Forming Functional Zones • Distinct contrasts between • Light can be used to individual zones and their emphasize individual surroundings remove them functional zones in an from their spatial context. area, e.g. traffic areas, waiting areas, and exhibition areas. room with left wall illuminated (simulate daylight) room with rear walls only illuminated 17 18 Forming Functional Zones Forming Functional Zones • Light can be used to • Light can be used to emphasize individual emphasize individual functional zones in an functional zones in an area, e.g. traffic areas, area, e.g. traffic areas, waiting areas, and waiting areas, and exhibition areas. exhibition areas. room with objects only illuminated room with stairs only illuminated 19 20 5 Light In Architecture and Psychology of Light Forming Functional Zones Forming Functional Zones • Zonal lighting with • Different illuminance levels delineated beams of light establish a perceptual visually separates one hierarchy and direct the area from another. viewer's gaze. room with objects and stair illuminated room with left wall and stair illuminated equally 21 22 Forming Functional Zones Forming Functional Zones • Differentiated lighting of • The differentiation of light functional zones divide up colors creates contrasts an area and improve and emphasizes individual orientation. zones. room with rear wall and stair illuminated room with left and rear walls illuminated 23 24 6 Light In Architecture and Psychology of Light Forming Functional Zones Forming Functional Zones - Exterior 25 26 Forming Functional Zones - Exterior Defining Spatial Borders - Horizontal • Floor illumination emphasizes objects and pedestrian surfaces. floor lit with downlight fixtures 27 28 7 Light In Architecture and Psychology of Light Defining Spatial Borders - Horizontal Defining Spatial Borders – Horizontal • Indirect lighting of a ceiling creates diffuse light in the room with the lighting effect being influenced by the reflectance and color of its surface. ceiling uniformly lit with uplight wall fixtures 29 30 Defining Spatial Borders – Horizontal Defining Spatial Borders – Horizontal 31 32 8 Light In Architecture and Psychology of Light Defining Spatial Borders - Vertical Defining Spatial Borders - Vertical • Vertical spatial borders are emphasized • Vertical spatial borders are emphasized by illuminating wall surfaces. by illuminating wall surfaces. • Uniform light distribution emphasizes the • Uniform light distribution emphasizes the wall as a whole. wall as a whole. • Bright walls create a high level of diffuse • Bright walls create a high level of diffuse light in the room. light in the room. • Vertical illumination is used to shape the • Vertical illumination is used to shape the visual environment. visual environment. • Room surfaces can be differentiated • Room surfaces can be differentiated using different levels
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