Light as a medium to enhance communication in urban spaces.

AIKATERINI KOLOVEA VARNAVA

MASTER THESIS KTH Royal Institute of Technology, M.Sc. Architectural Lighting Design DECEMBER 2017 1 2 Light as a medium to enhance communication in urban spaces.

Author Aikaterini Kolovea Varnava

Supervisor Dr. Thomas Schielke

KTH Coordinator Isabel Dominguez

Master Thesis at KTH Royal Institute of Technology School of Architecture and Built Environment

Degree Master of Science in Architectural Lighting Design

Course AF270X

Submission December 2017

3 AUTHOR’S STATEMENT

I hereby affirm that this Master’s Thesis is based on my own observa- tions and is written by me. With academic research I have compiled information relevant to the topic. Sources are listed in the bibliography. Interviews were composed and carried out by me. The thesis was not submitted in the same or in a substantially similar version, not even par- tially, to another examination board and was not published elsewhere.

------Aikaterini Kolovea Varnava Date: 22 December 2017

The Master Thesis is a 15 credits degree project in the M.Sc. programme Architectural Lighting Design, KTH Royal Institute of Technology,School of Architecture and Built Environment. © 2017, Aikaterini Kolovea Varnava Digital Version Stockholm, Sweden

4 5 ACKNOWLEDGEMENTS

I would like to express my deepest gratitude to the people that supported me during this inspiring journey of my Master Thesis. I am much obliged to every single person who influenced my research, broadened my horizons and inspired me to start searching for my mission as a young lighting designer.

The incredible support and patience of my parents, my family and my closest friends, helped me believe that everything is possible and realize that there are endless reasons to smile and dream every single day of the process.

Many experts in the fields of lighting, activism, politics, psychology, sociol- ogy, art and architecture made valuable contributions to my research in the form of inspiring and enlightening conversations, fascinating interviews and information without which, the final outcome would not be the same. I greatly appreciate their support and time spared in order to help me with my thesis.

Last but not least, I would like to express my gratitude to my tutor, Dr. Thom- as Schielke, for his invaluable comments, time and guidance during the entire process of my research. He was the one who invigorated my excite- ment to go deeper into this social aspect of lighting design and for that, I am forever thankful. 6 ABSTRACT

Τaking into consideration how frequent the presence of light is in the most of the communication events and initiatives of human beings, as well as, the continuous need of the society for an evolution and facilitation of communi- cation, without barriers, this thesis aims to study how light can be an impactful medium, suitable to influence and create, a social worldwide engagement οn a daily basis.

Βy applying current techniques and methodologies of the field, through the published bibliography and articles, the collection and presentation of the ex- isting projects, original interviews and questionnaires, this research, attempts to present significant reasons and arguments that designate the light as a basic communication tool, suitable to dynamically contribute in transferring messag- es and information on sociopolitical, environmental and health related fields.

In the end, it is justified that light under a certain context, is an attractive me- dium, suitable for raising awareness, communicating messages for local and global issues and creating social engagement in the urban space. By provid- ing arguments for the importance of the use of light in sociopolitical, environ- mental and health issues, emphasizing on the dynamic lighting environments that can communicate information through light, this research concludes with an aspiration for more conscious use of this communicative “language” in the urban space.

Through the final conclusions, it is evident that the continuation of a construc- tive dialogue on the subject will help solidify the position of light as a funda- mental and meaningful communication medium. For that reason, the discus- sions and conclusions, will give the audience and researchers the incentive to dive deeper into the issue and investigate the many aspects of it in further analysis.

7 8 4.3 Experts Interviews TABLE OF CONTENTS 4.3.1 A.Politicians, Social activists 4.3.2 B. Lighting designers 1. INTRODUCTION 11 4.3.3 C. Projects creators 1.1 Keywords 4.3.3.1: Tribute in Light, Charles Stone 1.2 Objectives 4.3.3.2: Project Resist, Lighting Collective 1.3 Methodology 4.3.3.3: #Welivehere2017, Clare Lewis 1.4 Procedure 4.3.3.4: Projecting change ESB, OPS 1.5 Limitations 4.3.3.5: Light it up Blue, Autism Speaks 1.6 Structure 5. DISCUSSION 87 2. METHODOLOGY 17 5.1 Global color campaigns/ Color symbolism 2.1 Qualitative Methods 5.2 Variety of tools/ Comparison 2.2 Literature 5.3 a. Same message, same medium, different installations 2.3 Project categories 5.3 b. Different message, same medium, same installations 2.4 Selected projects 5.4 a. The role of landmarks 2.5 Expert Interviews 5.4 b. Lighting designers’ role 5.5 Abstract vs literal communication 3. BACKGROUND 21 5.6 Time and repetition 3.1 Science & Light 5.7 Regulations 3.2 Urban Space 5.8 a. The importance of Media 3.3 Communication Theory & Media 5.8 b. Light as a Massive communication medium 3.4 Community effect & Psychology 5.9 Another use of light/ Propaganda 3.5 Social engagement, Activism & Artivism 5.10 Light as a language 3.6 Lighting Characteristics & Tools 6. CONCLUSION 103 6.1 Conclusions 4.CASE STUDY 35 6.2 Outlook 4.1 Project categories 4.2 Selected projects 7. BIBLIOGRAPHY 109 4.2.1 #Welivehere 4.2.2 Tribute in Light 8. TABLE OF FIGURES 117 4.2.3 Projecting Change 4.2.4 Project Resist 9. APPENDIX 125 4.2.5 Light it up blue 9.1 Experts Interviews questionnaires A, B 4.2.6 Earth Hour 9.2 Experts Interviews questionnaires C

9 10 1. INTRODUCTION

“Education is the movement from darkness to light”.

Allan Bloom, Philosopher,

11 ONE WORLD

If someone thinks the manifestations in terrorism, social racism and economic which light has played a dominant and inequality are just some examples of the leading role in the various stages of hu- numerous issues that we have to face. manity’s history until the 21st century, he will realize that the events connected to People, NGOs and municipalities, find light are innumerable and of high impor- different means and actions in order to tance. Political, protest, entertainment achieve change and awareness. There and sport events, religious ceremonies, are innumerable actions that are used social awareness and information affairs, to inform, protest and create aware- as well as, events aiming to impress or ness for important social issues. proselytize ideologies, beliefs, views and opinions. Since the ancient times, starting For example, communities and groups from when people were using fire as the of individuals, will choose to protest by basic mean to express and influence hu- demonstrating on the street, in front Fig. 1: The earth man emotions of any kind, has been ob- of a Municipality building or in front of served that light is a fundamental element the headquarters of a compan. Some- in many levels of human life. times, demonstrations are connected Fig.2: Protest for with violence and may lead to police human rights What is that which, encourages people engagement. Moreover, activists and to choose light as a basic tool in all these NGOs, except of an outdoor demon- initiatives and events? What is the special stration, will do different actions like potential that light has? Is it related to the door to door canvassing, alternative intense reaction it causes through the op- radio, public meetings, rallies or fasting. tic nerve on the human brain? Does it trig- Fig.3: Paris climate ger our emotions and behavior? Is it useful Municipalities and politicians, most of agreenment COP21 because it is easy to transform a space? the times, will use the Mass Media in order to create awareness and inform In recent years, we are going through a people for a certain issue. They will or- period of social, environmental and politi- ganize global conferences and con- cal turmoil. Air and water pollution, global ventions for global Warming, environ- Warming, increase of infectious diseases, mental and health issues. Fig.4: Media cam- paign for health political conflicts, violence,

12 INTRODUCTION ERA OF TECHNOLOGY

In the era of technology, interactive mul- In this research, there is an attempt to timedia, the Internet, smartphones and prove that light in different applications generally, all kinds of technological de- and under a specific context, focused velopments, have a dominant role in ev- on the use of the architecture of the eryday life. Static printed images are no city as a canvas, can be an impactful longer able to convey powerful messages medium that can be used in order to when people are getting used to vibrant create social engagement worldwide. screens with fast changing messages. New ways are being developed in order to explore means to communicate social messages, to inform, raise awareness and motivate people to achieve change and progress. Fig. 5: The era of technology Light seems to be one of these new ways. Light can transfer messages quickly and simply, without raising linguistic, class or racial barriers. Nowadays, light has been used for temporary interventions in order to achieve a visual impact. The question that arises is if light can transmit important messages that will remain indelible in peo- ples’ minds. Fig. 6: Technology Could we presume that light is a commu- nication medium?

Would it be possible to include light in the existing communication mediums like Face to Face Communication, Social Me- dia Communication, Written Communica- tion, One-Way Audio or Video Communi- cation?

Fig. 7: Light 13 1.1 Keywords 1.4 Procedure 1.5 Limitations LIGHT, COMMUNICATION, URBAN SPACE, The time frame of the thesis is a work of 10 A limitation of the thesis is the extent of anal- PUBLIC, SOCIAL, ENGAGEMENT, AWARE- weeks where the research must be complet- ysis in the six categories that are presented in NESS, POLITICS, COMMUNITY, MEDIA, ed and all the aspects of academic writing will the background, because of the time frame be fulfilled. The first weeks consisted of theoret- of the 10 weeks. ical research, organization of the background 1.2 Objectives chapter of the thesis and final decision for the Moreover, the experts’ interviews are limited The main objective of this thesis is to ana- research question. During the first and third by the number of people that can be inter- lyze light as a medium for communication, week of the project, I was attending two in- viewed during the 10 weeks. An important education and awareness raising for envi- ternational lighting conferences in Denver, US limitation is that the answers on the experts’ ronmental, health and sociopolitical issues. and Paris, France, where two of the presented interviews category, might include subjec- experts’ interviews (4.3 chapter) were execut- tive views, which need to be considered for By focusing on the non-commercial mis- ed. By the second week, a selection of proj- generalizing results. sion of light and excluding the branding ects and experts was made and the prepa- communication, advertisement, billboards ration of questionnaires for each of them had The research is limited by concentrating on etc., the author attempts to understand started. During the third and fourth week, all existing projects that are using the architec- how light is linked to social issues in urban the experts were introduced to the topic and ture of the city as a canvas for communicat- space and how the visual transformation agreed for an interview. The fourth week was ing a noncommercial message. of the architecture, the practicality of light used to analyze the selected projects and as a medium, the time and meaning of a start the case study chapter. At the fifth week, Finally, the case studies are limited to Eu- lighting intervention in the public space a midterm presentation was carried out from rope, America and Australia after 2000. The can create awareness, inspiration and so- KTH through Skype and objectives, procedure, topics are limited to sociopolitical, health cial engagement. process and first findings were presented. At and environmental issues. the same week, most of the interviews were completed through skype and face to face. This research is concentrating on the The sixth and seventh week were used for an- non-commercial mission of light in the ur- 1.3 Methodology alyzing interviews and case studies. During the ban space. Commercials, billboards, light as The selected methodology is a combina- eighth and ninth week, a revision of results was a branding tool as well as safety lights and tion of a background research in six differ- discussed and connected with background ent fields, a first level analysis of 30 existing traffic lights are excluded from this research. for the discussion and conclusion chapter. In examples, a deeper analysis of 6 selected the end, proof reading and the final presenta- case studies and a section of qualitative tion of the project started. The final paper was interviews. The methods are introduced handed in by the tenth week to the examin- later in detail in Chapter 3: Methodology. ers, two weeks before the final presentation in KTH.

14 INTRODUCTION THESIS STRUCTURE

INTRODUCTION METHODOLOGY BACKGROUND CASE STUDY DISCUSSION CONCLUSIONS

-Keywords -Qualitative -Science & Light - Project Critical methods categories evaluation, General -Objectives -Urban Space analysis of conclusions -Literature - Selected results and -Limitations -Communication projects information + -Project categories Theory & Media -Experts Outlook -Selected projects -Sense of community interviews & Crowd Psychology -Expert Interviews -Social engagement & Activism/Artivism

-Lighting Tools & Characteristics Fig. 8: Thesis Structure graph 1.6 Structure The thesis structure is based on academic standards. The introduc- How the “community effect” is succeeded in public events, what tion highlights the purpose and objectives of the project and makes is activism and social engagement and finally about lighting char- a prologue by giving relevant information of the subject. acters and existing lighting tools. The methodology of the thesis is The topic is multidisciplinary and crosses the borders of different dis- explained in the third chapter. Moreover, the fourth chapter focus- ciplines. In the “background” chapter, six distinct categories are es on the case studies organization, in depth analysis of six select- analyzed in a primary level to introduce the reader into the topic ed projects and summaries from the experts’ interviews. The fifth and allow him to follow the discussion part in the 5th chapter. In- chapter discusses and critically evaluates findings and connects formation regarding how light triggers the brain and the behavioral the case studies category with the background research. Finally, responses, how the urban city is structured, what is the communi- the conclusion of the thesis includes final findings, answers and sug- cation theory, what is the importance of Media, gestions for further findings.

15 16 2. METHODOLOGY

“ I wanted the light to be the revelation. It has to do with what we value. I want people to treasure light”.

James Turrell, Light Artist,

17 In chapter 3, the methods of the research the last one about health issues. In some of those are presented. The results are presented 2.2 Literature projects another category was added. This extra in the case study chapter and they are The topic has to be analyzed from a mul- category, is connected with the form that have discussed in relation to the theoretical tidisciplinary perspective. For that reason, been used for the communication of a message. background in the discussion chapter. firstly the research will summarize some ex- It is related to a protest action, while the other proj- isting results from previous investigations re- ects are parts of social events, festivals and other lated to how light stimulates our brain and occasions. Those 30 examples, were analyzed in influences the human perception. The next terms of lighting tools, light character, communi- 2.1 Qualitative part is linked with the legibility, visual com- cation theory, final “community effect” and so- munication, perception and the humanis- cial engagement. All of these examples have a methods tic approach of the urban environment by common goal, to communicate a message and The use of qualitative methods in the Kevin Lynch and Jane Jacobs. Moreover, are taking place in the urban space. specific research are relevant since the the third part is analyzing the communi- research examines light as a medium of cation theory and the media. The fourth is communication and engagement in six concentrating on the “Crowd psychology” 2.4 Selected different levels. Under the specific time and “Community effect” of collective ex- limitations (10 weeks length) in this re- periences in the urban space. In addition, projects search, the theoretical background in- the research background will analyze the After gathering 30 different projects, analyzing vestigation, the qualitative method with terms activism and artivism, concentrating and dividing them into three categories, I set the selection of case studies and the ex- in general in the social engagement. Final- some parameters in order to select which proj- pert interviews method, were the most ly, it will consider the light tools, forms and ects could be the most beneficial for my research suitable to gain important insights into characters that can be used in order to question. The parameters were set regarding the this topic. achieve a lighting installation. topic, the location, the technology used, as well as the communication theory. The strength of the qualitative method- ology is that the data are based on hu- 2.3 Project In the following scheme, the first analysis of the man experience. Important limitations case studies can be seen. are however, that the findings cannot categories 1. We live here, Australia Waterloo, Sydney be generalized since the interview par- In the second part of the methodology, an Brief analysis: Light as a medium to protest, com- ticipants even though are experts on the extent analysis was done, focused on proj- munity project, Use of LED strip, use of color light- selected categories, are a small sample ects that are using LIGHT, as a medium to ing, using architecture structure-connected with of individuals and the selection has been communicate a message and create en- the reason of protest. made by the author under subjective gagement since 2000, in three continents, and objective criteria. The qualitative America, Australia and Europe. All the proj- 2. Tribute in Light, USA, New York interviews are structured under specific ects were divided in three categories. The Brief analysis: Light as a medium for Commemora- questions but are generally open and categories were organized depending on tion, use of lighting fixture, Light Art, representing can be redirected by the researcher or the topic. The first one is about sociopoliti- the twin towers in a symbolic way. the expert during the interview. cal issues, the next one environmental and

18 METHODOLOGY 3. Projecting Change Empire State They are those people who can share their meth- highlights endangered animals, USA, 2.5 Expert odology on how to inspire a group of people to New York take action, how to create awareness for a social Brief analysis: Light as a medium to cre- Interviews issue by using the existing mediums and some- ate awareness for the environment, us- times light. ing a landmark (Architecture) to proj- There is scientific literature which regards ect a message. Use of Video mapping expert interviews as valid for a qualitative The next group, the interviewed experts are peo- projection, use of images and video. research. Talking to experts in the explor- ple who link light, art and activism as well as social atory phase of a project is a more efficient interaction, in the urban space. 4. Project Resist: Light Graffiti at the LSE and concentrated method of gathering Campus Holborn, London, England data than, for instance, participatory ob- The last group of the experts interviews are the Brief analysis: Light as a medium to servation or systematic quantitative surveys. project creators from the 6 selected case stud- communicate a message and cre- (Bogner,A. & Littig,B & Menz,W) ies, in order to understand in depth the selected ate a shared feeling between people projects. In chapter 4.3.3, category C: Projects about what do they resist in 2016, us- The length of the interviews varied from 10 creators, 5 of the 6 case studies are presented. ing a University building (Architecture), to 40 minutes. The majority of the interviews For the 6th one, there is no presented interview, part of a festival, Use of Video mapping were held on skype, some were in-person because of the multiple online information that projection, use of images and video, interviews and there were three which were clarified all the aspects of the project. light-graffiti, dynamic-changeable im- not held in real time, that means that the in- age. terview expert has responded on the ques- Within these three groups, there are individual tions and sent them through email. All the and similar questions, in order to be able to com- 5.Light it up blue campaign: Autism interviews were recorded from the author pare answers in the discussion part and writing speaks to process information for the research. All some conclusions. The questionnaire scripts are Brief analysis: Light as a medium for participants were asked for approval of re- presented in the appendix chapter 9.1 and 9.2. awareness for health disorder-autism, cording the conversation and were invited In total, the interviewed persons were 12 and their using landmarks all over the world (ar- to provide a headshot and short biography input was very important for the process of this re- chitecture) to share a message, use to be included in the “Experts interview” search. of color lighting, use of lighting fixture, chapter. transformation of architecture. Some interviews were held in Greek, but the 6. EARTH HOUR WORLDWIDE ACTION, questionnaires have been translated in En- (WWF) glish, as well as the summary interviews. The Brief analysis: -No Light- as a medium to interview partners have very different back- create awareness for the environment, grounds. For that reason, they have been turning of the lights and inspiring action categorized in 3 groups. The first group is for the protection of our planet, lack of people who are not connected with light, light, turn off the lights, symbolic lights but they are able to provide information off event, darkness, linked to sustain- and knowledge about social and political ability. engagement.

19 20 3. BACKGROUND

“Red’is’not’anger’and’blue’is’not’peace’[…]’Emotion’is’created’by’contextualizing’ and’not’by’labelling”.

Nissar’Allana, Artistic Director,

21 BACKGROUND RESEARCH

2.1 2.2 2.3 2.4 2.5 2.6 Science Urban Space Communication Sense of Social Lighting & Theory & Media community & Engagement, Tools & Light Mass Psychol- Activism & Characteristics ogy Artivism

Fig. 9: Background research graph

22 BACKGROUND 3.1 Science & light Moreover, it is possible to induce a change of the psychophysiological responses by the In the first background chapter, the aim is to under- perceiver, through the alteration/modula- stand from a scientific perspective how light triggers tion of the nature and typology of light stimuli our brain and influences our psychological and be- within a continuum of variations, allowing also havioral responses. The extent of the research is lim- the measurement of subjective impressions in ited and it can be used only as an introduction and lighting conditions (Flynn, 1979; Boyce, 2003). transition for the following chapters. Humans have substantial ability to process Flynn, Spencer, Martyniuk and Hendrick (1973) ambient and peripheral information that di- claimed that lighting can be discussed as a vehicle rectly affects our feelings & subconscious that alters the information content of the visual field contextual understanding, without the need Fig. 10: Eye and brain connection. and that this intervention has some effect on behav- to activate cognitive, through processes. By ior and on sensations of well-being. introducing meaningful digital feeds to our built environments through ambient commu- According to Veitch (2001),” aesthetic judgments nication, we enhance & extent our conscious concern the appearance of the space. Satisfac- & subconscious awareness of what is going tion and preference judgments include an emotion- on around us. (Sapolsky, 2017) al component: how space makes the viewer feel. Satisfaction is the state of feeling that one’s needs Calvillo Cortés, Falcón Morales, (2016) in their are fulfilled; by implication, conditions that produce research, “Emotions and the Urban Lighting satisfaction or comfort are those that one prefers.” Environment, A Cross-Cultural Comparison” For some writers, this judgment defines lighting qual- observed that high-intensity and focused ity. (Hawkes, R.J., Loe, D.L. and Rowlands, E. 1979 ) lighting are related to emotions that involve “Affect” is the term used by behavioral scientists to more action and movement, such as enter- Fig. 11: Reading the image: optical & mental describe emotional responses. In a state of positive tainment; whereas low intensity and blurred phenomenon. affect, one feels pleasant, relaxed, and happy.Rob- quality lighting are related to emotions that ert Baron, a social and environmental psychologist, is involve affectivity, in a positive or negative the best-known proponent of the theory that environ- sense, such as fear or affection. We observed mental conditions that create a state of positive ef- that color and direction are related to emo- fect, lead to better performance, greater effort, less tions that involve originality, such as pleasant conflict and greater willingness to help others. surprise or fascination. The results of their re- search, are important because they indicate According to Flynn (1977), light is able to induce—ac- that a clear relation between the affective cording to its intensity, saturation and modulation— quality and emotions would facilitate the de- specific emotional states, but also activate specific sign of a lighting place, to stimulate a positive cognitive skills inside the perceiver: dynamism, relax- emotional experience or to avoid a negative ation, privacy, visual clarity, excitation, productivity, emotional experience. The urban lighting in- Fig. 12: Understanding the image: We under- efficiency, but also stress, sleepiness, sadness, agita- fluences the emotions of observers and the stand in context tion, restlessness, anxiety. emotions are linked to a cultural background. 23 Multisensable experiences: Lindstrom (2005) in visibility and visual performance, bring out dis- his book Brand Sense, argued that those that in- comfort, stress, sense of danger and disorienta- vest in multisensory branding are likely to have tion in the individual, that if sustained over time a loyal customer base. He highlights the visual may lead to neuropsychiatric disorders: human cues, such as moving images and pictures. Also, is a photosensitive being (Bruce & Green, 1990). he says that those images are processed in the Finally, they claim that in the Light Art artworks cortex, which is responsible for thoughts and and light design, lighting take up the function actions. Smell and taste, however, are linked to to illuminate the environmental (which is per- the limbic system, which is a network of nerves ceptual and experiential space), highlighting in the brain, which is responsible for memories and marking objects, revealing spatial or sym- and emotions. The five senses are the sight bolic paths, focus or divert the viewer’s attention (vision), hearing (audition), taste (gustation), in front of a specific artwork’s detail, letting out smell (olfaction) and touch (somatosensation). the symbolic strategy and meaning trajectories, Politzer (2008), says that vision is the process of planned by the artist or light designer. Through deriving meaning from what is seen. It is a com- research performed by using light sources of dif- plex, learned and developed set of functions ferent spectrum (from natural to artificial light), that involve a multitude of skills. Research esti- it was established a correlation between light- mates that 80-85% of our perception, learning, ing levels and light colors, psychophysiologi- cognition and activities are mediated, through cal reactions and emotional responses by the vision. perceivers: generally, a higher intensity of light stimulation corresponds to a higher level of con- Tomassoni, Galetta, & Treglia (2015) argues that centration/attention, associated with a greater the synesthetic possibilities of human percep- emotional response by the subject. The expo- tion and the emotional responses by each indi- sure to a flashing or pulsating light (rather than a vidual exposed to the light can grow if besides steady light) induces faster emotional responses the impact generated by a light source, sound by the perceiver: in fact, flashing light is associ- stream is also implemented in an installation. ated with the danger, activating an innate state Moreover, according to Berry (1961), colored of alert in the human, enabling him/her to react light can evoke a “tactile sensation in the per- quickly and in a most extreme way, influencing ceiver” (according to the range of chromatic judgment abilities, problem solving and deci- hue), manifesting itself in the form of perceived sion-making skills. Through the lighting modula- temperature, implementing modalities of syn- tion (and its color spectrum), it is possible to stim- esthetic perception in the human. In this way, ulate different emotions in human being, such Berry claims that the individual may be able to as physical attraction or aggressiveness. “feel” the light. Finally, light has not only the role to make visible Tomassoni, Galetta, & Treglia (2015) highlight an object for a viewer, but also to contextualize that over-lighting or close light flashes provoke it within the environmental space. (Tomassoni, dazzle, that by reducing the perceiver’s Galetta, & Treglia, 2015)

24 BACKGROUND And this is related to physiology, anatomy, per- 3.2 Urban Space ception, cognition, meaning, affect and evalu- ation. According to her all of these must be con- In this background chapter, the aim is to under- sidered in order to design the city and be able stand how we can analyze a city depending on to understand and read it. Physiology is about the structure morphology or depending on the the natural environment, temperature, humidi- experiences of people who living in it. It is about ty, light and noise, while anatomy is the physical understanding the individuality and generally construction of the city and how humans are re- how people perceive the city according to phi- lated to it, the size and heights, the ergonomic of losophers of space (J.Jacobs,K.Lynch,J. Gehl). the people. Moreover, the perception is all about our senses, how do we feel in terms of physiology, According to Jacobs, people are the ones who how we walk and interact with the city. Cogni- give meaning to a space. She approached the tion is about mental maps; meaning is connect- Fig. 13: What makes a great place? cities as living beings and ecosystems. She be- ed with Kevin Lynch theory, that we are connect- lieves that over time buildings, streets and neigh- ed mentally with the city and we have different borhoods function as dynamic organisms and meanings for it. In the end, we can evaluate the they change in response to how people interact city and that means that by walking to school, with them. Jacob expresses the importance of lo- we might have different choices, but depending cal public characters in neighborhoods explain- on our preferences, we select a specific path to ing that they strengthen the eyes on the sidewalk walk. (Jacobs,1992) and connect the local population. “Cities have the capability of providing something for every- Moreover, Lynch (1960) analyzed what does the body only because, and only when, they are cre- city’s form actually means to the people who ated by everybody.” live there and experience it. As well as, how is it to read the space by experiencing the city as City diversity: One of Jacobs’ great insights was a user while you understand what is happening Fig. 14: Jane Jacobs protest to protect the city. the importance of diversity and a mixture of uses around you. As urban planner and author, he did to urban success. She focused on the fact that a study on how observers take information of the some places are lively and some not and she at- city and wrote the book “The Image of the City”. tempted to diagnose this by identifying key items According to him, the moving elements of a city which are necessary to generate city diversity. and in particular the people and their activities The district must have more than one use. The are as important as the stationary physical parts. lack of sufficient “city life” renders both a dull and Citizens are part of the city. A legible city is the dangerous city. Jane Jacobs was the first to ap- city with parts that can be organized into a co- ply a human understanding of the natural world herent pattern. Just as a printed page is legible to cities. She has some identifying mechanisms. as it can be visually grasped as a related pattern Good city is the city that we live it not just adopt of recognizable symbols, so a legible city is one to it. She believes in order to adapt to a city you whose districts or pathways are easily identifiable Fig. 15: Lynch’s 5 components’ of urban structure. need to “live the city”. And once people com- and grouped into an over-all pattern. Moreover, prehend a city, they are taking action and they the environment, suggests distinctions and the started changing what is happening. observer selects. 25 An image requires first the identification of Firstly, the paths may be streets, lines, railroads, Time series: Sequence, patterns. Reveals or an object. Second, the image must include transit lines. They are the channels along enhances the Perception of rhythm. Visual spatial or pattern relation of the object to the which the observer moves. Along these paths scope that includes transparencies, overlaps, observer and finally the object must have a the other environmental elements are ar- panoramas which increase the depth of vi- meaning for the observer. People read the ranged and related. The edges are the linear sion. Directional differentiation: Asymmetries, surroundings differently and they give a per- elements which create boundaries between gradients which differentiate one end from sonal interpretation depending on his men- two phases. These edge elements are for another (as on a path going uphill) Motion tality. A person’s perception of the world many people important organizing features, awareness: The feeling of actual or potential which focuses on physical and perceptible especially in the role of holding together gen- motion which enhances the perspective, the objects is called mental map. In addition, he eralized areas. Moreover, the districts are the direction and the distance. Singularity: One highlights the term imageability, which gives medium to large sections of the city in which element standing out in an area of similar ele- to the object a high probability of evoking a the observer mentally enters “inside of”. These ments and enhances the contrast. Finally, the strong image in any given observer. It is the areas characterized by common character- dominance of one part over others by means shape, the color or arrangement which facil- istics. The Nodes are squares and junctions or of size, intensity, or interest. (Lynch, K., 1960) itates the making of vividly identified, highly any other place which focus points for orien- useful mental images of the environment. tation. Nodes may be simply concentrations, According to Gehl (1987), “life between In order to understand the role of environ- which gain their importance from being the buildings is potentially a self-reinforcing pro- mental images in citizens’ urban lives, Kevin condensation of some use of physical char- cess. When someone begins to do something, Lynch used three disparate cities as examples acter. Finally, the landmarks are another type there is a clear tendency for others to join in, and talked with their inhabitants. (Boston, Jer- of point-reference, but in this case the observ- either to participate themselves or just to ex- sey City and Los Angeles). He chose Boston er does not enter within them, they are exter- perience what the others are doing. In this for its vivid form, New Jersey for its apparent nal. It can be a building, a sign or a mountain. manner individuals and events can influence formlessness and Los Angeles as a new city of Some landmarks are distant ones, typically and stimulate one another. Once this process a completely different scale. He interviewed seen from many angles and distances, over has begun, the total activity is nearly always a small sample of city residents in order to the tops of smaller elements, and used as ra- greater and more complex than the sum of evoke their own images of their physical en- dial references. Other landmarks, are primarily the originally involved component activities”. vironment. “We find in comparing these three local, being visible only in restricted localities cities that a might be expected, people ad- and from certain approaches, like signs, store just to their surroundings and extract structure fronts, trees, etc.)(Lynch, K., 1960) and identity. Seems to be a public image of any given city which is the overlap of many Kevin Lynch set some categories, that they individual images”. According to this study describe qualities that a designer may oper- this public image has been formed by five ate upon. Continuity: Continuance of edge elements. The five elements are: Paths, Edg- or surface as in a street channel, repetition of es, Districts, Nodes and Landmarks. The Land- rhythmic interval, similarity, analogy or harmo- marks are the ones that will be mentioned ny of surface. Form Simplicity: Clarity and sim- frequently in this research, since a majority of plicity of visible form in the geometrical sense. the following lighting installations are taking Clarity of joint: High visibility of joints and place in city landmarks around the world. seams, clear relation and interconnection.

26 BACKGROUND of communication has the potential to be dif- 3.3 Communication fused to society at large. This is what is called mass communication. The first category, the Theory & Media interpersonal communication is interactive (the message is sent from one to one with In this chapter, it is important to understand some feedback loops), while mass communication terms that are connected with the word “commu- can be interactive or one directional. For ex- nication”. The extent of the background research ample, in books, newspapers, films, radio and on the media communication field in this thesis, television, the message is sent from one to is limited and it can be used only as an introduc- many. Viewers can comment on talk radio or tion and transition for the following chapters where television programs, but mass communication many of those terms will be used to describe the used to be predominantly one-directional. case studies and other examples. Nowadays, with the use of internet, a new form Fig. 16: Communication graph. of interactive communication with the capac- Communication is defined as the process of un- ity of sending messages from many to many, derstanding and sharing meaning.(Pearson, Nelson has emerged as Castells says. He calls this new 2000) The process of communication is defined by form “mass-self communication”. He also ex- the technology of communication, the character- plains that is mass communication because it istics of the senders and receivers of information, can potentially reach a global audience. It is their cultural codes of reference and protocols of self-communication because the production communication and the scope of the communica- of the message is self-generated, the defini- tion process” (Castells,2009). tion of the potential receivers is self-directed and the retrieval of specific content from the It is essential to define what is power in a network Web and electronic communication networks society. According to Castells (2009), “power is the is self-selected. most fundamental process in society, since society Fig. 17: Communication process is defined around values and institutions and what In his book, “ The Global Village”, McLuhan, is valued and institutionalized is defined by power defines massive media communication as a relationships”. A network in general is a set of inter- diversified collection of media technologies connected nodes. A network in social life, can be that reach a large audience via mass commu- called as a communicative structure. “Communi- nication. He uses three categories, broadcast cation networks are the patterns of contact that are media, where television, radio and film are in- created by the flow of messages among communi- cluded, the digital media, where there are the cators through time and space” (Monge and Con- social media, internet and mobile mass com- tractor,2003). munication and finally the outdoor and print media. All of the above media, is engaging Castells, differentiate the interpersonal communi- the viewer in different ways. They are using dif- cation from the societal communication. In the first ferent communication theories. Communica- Fig. 18: Media enrich the expression of non-ver- one, the sender(s) and receiver(s) are the subjects tion theory is a field of information theory and bal communication of communication. In the second one, the content mathematics that studies the 27 technical process of information and the pro- an environment by its mere presence. Accord- transformed into a somewhat autonomous cess of human communication. It is a system- ing to him is a medium without any content. global public sphere,which can be described atic summary about the nature of the com- McLuhan, (1964)Moreover, in his book, McLuhan not as a common or collective space between munication process. (Dainton, Zelley, 2011). identifies two types of media: hot and cool me- the ‘public’ and the state but between the Theories simply provide an abstract under- dia that are classified depending on the degree state and an extra societal, global community. standing of the communication process (Mill- of participation. He discusses the differences be- (Volkmer, I. 1999) According to Newell (2000), er, 2002) tween hot and cool media and the ways that there are times when the Media have a direct one medium translates the content of anoth- effect and politicizes an issue with goal to bring The elements of communication are: The er medium. Cool media are those that require it to the public attention or they have an indi- source (information source), which produces higher participation from users, due to their low rect public opinion shaping effect, where they a message or sequence of messages to be definition. These are the mediums that they foster are trying to frame a debate about the specif- communicated to the receiving terminal. / involvement. On the other hand, the hot media ic issue. A question is raising on the specific is- The sender (or transmitter), who operates on are low in audience participation, due to their sue regarding the media, why does the media the message in some way to produce a sig- “high resolution or definition. For example, film is highlights the issue of global warming? As Man- nal suitable for transmission over the channel. defined as a hot medium, since in the context uel Castells describe, the goal for the media is / The next element, is the channel which is of a dark theater, the viewer is completely cap- to attract audience. The audience is attracted the medium used to transmit the signal from tivated and his vision is “filled in high definition” on news that raises their emotions. As he de- transmitter to receiver. / Moreover, the next (hot mediums enhance one single sense). An ex- scribed, “negative emotions have greater ef- is the receiver, who performs the inverse op- ample for cool media is the television since the fect on focusing attention than positive ones”. eration of that done by the transmitter, re- viewer has to integrate all the sounds and sights constructing the message from the signal./ in the context of the room. The catastrophic consequences of global The destination which is the person for whom warming forces deep fear in the public. So, on the message is intended. /The last element of Mainstream media comprise the mass media that point is very important to highlight the way communication is the feedback. (Shannon, of television, radio and the press that are corpo- that the global warming and the scientific infor- C. 2011) rately owned, controlled or governed (including mation are translated into media language, in by public corporations such as the BBC). Alterna- a way that the public is feeling the danger and McLuhan in his book “ Understanding Media”, tive media are those media that are produced the fear by visualizing a catastrophic future. The he says that “the medium is the message”. by activists themselves. Accessing or using these media are essential in the raising of awareness What is meant by that is that the medium af- different types of media require different strat- and environmental consciousness. fects the society in which it plays a role mainly egies, tools and skills on the part of activists re- by the characteristics of the medium rather gardless of whether they are grassroots cam- To conclude this part, is important to say that than the content. His book is considered as a paigners or involved in organizations, such as the networking between the scientific com- pioneering study in media theory. For exam- Greenpeace (Jong W., Shaw M. and Stammers munity, environmental activists and celebrities ple, McLuhan pointed to the light bulb. He N., 2005). moved the global warming issue from an ob- said that a light bulb does not have content jective problem to an “explicit policy issue”. in the way that a newspaper has articles, the From this globalized angle, the world-wide Web The way that they succeeded this process was television programs etc., it is a medium that with its new cybercasting facilities represents a by bringing the issue to the media and commu- has a social effect. The light bulb enables new public sphere, in which ‘the public’ and its nicated it to the public at large via multimedia people to create spaces during nighttime. opinion is no longer a substantial element of the networks (Castells, 2009). Mc Luhan states that “ a light bulb creates political system of one society…but has 28 BACKGROUND According to McMillan and Chavis, a shared 3.4 Sense of community emotional connection “is based in part, on a shared history”. As they said, it is not necessary & Crowd Psychology that group members have participated in the history in order to be able to share it, but they In this chapter, the main goal is to understand what the have to able to identify with it. The interactions “sense of community” is and how it can be generated of members in shared events and the specific on purpose in the urban space aimed to extent groups attributes of the events may facilitate or inhib- of people of different cultures and ages. This term will it the strength of the community. The quality of be frequently used in the case studies chapter. interaction is very important according to Cook Other terms that are linked with the sense of commu- (1970), “ the more positive the experience and nity are: “community effect”, “togetherness”, etc. To- the relationships, the greater the bond. Success Fig. 19: Sense of community getherness is a feeling of closeness or affection from facilitates cohesion”. Also, the more important being united with other people. (Collins, 2014) the shared event is to those involved, the greater the community bond (Myers, 1962). The shared There are various definitions for the term “sense of emotional connection is widely used in political community”. The most widely utilized in psychology, psychology where the politicians are focusing is that, it is “a feeling that members have of belong- to convince, inspire and attract the prospective ing, a feeling that members matter to one another voters. A study by Ted Brader with title “Striking and to the group and a shared faith that members’ a Responsive Chord: How Political Ads Motivate needs will be met through their commitment to be to- and Persuade Voters by Appealing to Emo- gether.” (McMillan & Chavis,1986) Moreover, accord- tions”, is showing that appeals to emotion can ing to Sarason (1974) is the perception of similarity to cause changes in how citizens respond to polit- others, an acknowledged interdependance with oth- ical messages. The results of the research show ers, a willingness to maintain this interdependence by that emotional appeals can stimulate behav- Fig. 20: Students link arms and form a circle in a giving to or doing for others what one expects from ior like voting or reasoned choice, that is “often stand for solidarity them, and the feeling that one is part of a larger de- seen as democratically desirable” as he says. pendable and stable structure. Also, he also concludes that by stirring fear or enthusiasm, images and music can manipulate This psychology concept exists in the urban sociolo- emotions and affect the behavior of voters. gy, which focuses on the experience of community rather than its structure and formation. According To conclude, crowd psychology (branch of to Mc Millan and Chavis theory, there are four ele- social psychology) is also important for this re- ments of sense of community. The membership, the search. It differs from the psychology of an in- influence, the integration and fulfillment of needs and dividual and this field relates to behaviors and the shared emotional connection. The shared emo- processes of both individual crowd members tional connection is an essential element for this re- and the crowd as an entity. Crowd behavior is search, since all the following examples aim to create influenced by the loss of responsibility of the in- Fig. 21: Sense of community in concerts. a shared emotional connection to the participants of dividual and the impression of universality of be- the “lighting installations”. havior, both of which increase with the size of the crowd. (Manstead, Hewstone,1996) 29 There are many varieties of activism, from the 3.5 Social face-to-face conversations to massive pro- tests, from principled behavior to the unscru- Engagement pulous, from polite requests to objectionable interference, and from peaceful protests to violent attacks. The most common image of Activism / Artivism activism is a public protest, such as a rally, In this background chapter, the terms social en- march, or public meeting. (Martin, 2007) gagement, activism and artivism will be presented in a primary level with definitions and examples. Why do people protest?: The definition artivism will be explained further, “All in all, we are only humans. We are all since the protest form of lighting installations that equal, we all deserve freedom of thought, will be presented in 4.1 chapter, could be defined and we deserve to receive public services Fig. 22: A stencil from contemporary street artist “ABOVE” in Lisbon, Portugal. as artivism. such as health, care, education, highways, airports, homes. These are all the responsi- Social Engagement (Social involvement, social bilities of the government.” Erdem Gündüz participation) refers to one’s degree of participa- (a Turkish dancer, artist and choreographer tion in a community or society. Prohaska, Anderson based in Istanbul), (Weibel, 2015) and Binstock (2012) suggest that the term social engagement is commonly used to refer to one’s Sommermann said that the experience of participation in the activities of a social group. injustice and the suffering of abuse and op- As defined by Avison, McLeod and Pescosolido pression has always challenged and deter- (2007) social engagement is “the extent to which mined individual and collective political ac- an individual participates in a broad range of so- tion. (Weibel, 2015) cial roles and relationships”. One other definition Why more social protest movements? Fig. 23: A Lighthouse for Lampedusa!, Lanificio25, Piazza is by Zhang, Jiang, and Carroll who described it as Enrico de Nicola, Naples, 2010 “the commitment of a member to stay in the group The citizens are expressing their growing dis- content with representative, liberal, plural- and interact with other members”. ist democracy. They are calling for political rights of participation that go far beyond the Activism: (Government, Politics & Diplomacy) It is rights that democratic institutions currently of- a policy of taking direct and often militant action fer them. For this reason, they are increasing- to achieve an end, especially a political or social ly joining forces to form social protest move- one” (Collins English Dictionary, 2014) “Activism is ments, NGOs and interest groups, seeking action on behalf of a cause, action that goes be- direct forms of democratic participation. Cit- yond what is conventional or routine. The action izens want not only to vote, but to play a role might be door-to-door canvassing, alternative ra- in governing. (Weibel, 2015) dio, public meetings, rallies, or fasting. The cause might be women’s rights, opposition to a factory, Fig. 24: Climate change tends to attract some form of or world peace. protest such as this in 2009 in Copenhagen, Denmark

30 BACKGROUND Massive media: Artivism: ART + ACTIVISM is an inspired ex- interventions in urban space. Some of them There is a growing interest in the use of Inter- pression of citizenship: A citizen is an enfran- are using a more conceptual approach with net and more specifically for the use of so- chised inhabitant of a political entity. To be abstract representations of the problem, cial media in social movements. There are a citizen means to enact one’s affiliation while others, are communicating straight studies that go beyond the massive media with a place and its people, their aspirations, messages. All are protesting but with differ- communication, and concentrating on the common purposes, rights, duties, history and ent mediums and in different levels. There level of emotions. Nowadays, “social media future. Good citizens are willing to lay down are many artistic collectives, activist artists has been a main distribution channel for art” their life in defense of their common purpose networks, individual artists, philosophers, (Weibel, 2015) and according to the author, (Campbell & Martin, 2006). Artivism is about authors, musicians who are known for their it would be interesting to understand in which the accomplishment of social consciousness political and artistic interventions in urban extent the artistic mediums are affecting the founded in human interaction. It serves as an space. Some of them, are using social me- sharing over the Internet. Zik, writes that “im- innovative use of public space to address dia to build a network which will follow them ages, video recordings of musical happen- contested issues of sociopolitical and cultural into their collective actions. ings and performances, songs and poems significance associated with systems of pow- “Intensive use of art, quickly became an es- were disseminated more than plain sentenc- er and control. Arts activism engages com- sential part of the protests and even shaped es. Particularly when there is a pinch of satire, munity participation as a means of effecting the general understanding of the move- irony, humor and grotesque included, sharing social change. ment”. Gezi movement is a wave of demon- on Facebook or via retweets on Twitter was strations and civil unrest in Turkey, which be- much higher”(Weibel, 2015). The topics can be related to anything that in- gan on 28 May 2013, initially to contest the volve social engagement, human rights, po- urban development plan for Istanbul’s Tak- Today, in social movements, art stays in the litical conversations among others. Accord- sim Gezi Park”. Today activists can see the core of activism. That means, that artistic use ing to Asante, “the artivist uses his/her artistic streets as an unconventional and unautho- of materials can help people express them- talents to fight and struggle against injustice rized space, the streets are the main arena selves, create networks and communicate and oppression by any medium necessary. for artistic statements and protests. Also, ac- with a wider public. Moreover, art has direct The activist merges commitment to freedom cording to Strauss, demonstrations can be impact on emotions which impacts both the and justice with the pen, the lens, the brush, named as performances (Weibel, 2015). individual and the community. Zik, draws at- the voice, the body and the imagination”. tention to the different ways the instrumen- There are artistic applications like documen- talization of art happens within social move- taries, videos, photographs, concerts, post- ments. As he said, art is used for deliberate ers, installations, graffiti, street art, comics, practical purposes like problematization and cartoons, art performances, nonviolent pro- for emotional reasons that help to experience test activities. Some of them are using a more the projection of a moment of liberation. By conceptual approach with abstract repre- using a specific example of the Gezi protests sentations of the problem, while others, are in Turkey, he said that the Gezi activists ben- communicating straight messages. All are efited from artistic tools and products to an protesting but with different mediums and in extent that Turkey had never used before in a various levels. There are many artistic collec- movement. Some of the mediums were, sub- tives, activist artists networks, individual art- verted images, satirical slogans, humorous ists, philosophers, authors, musicians who are tweets and music. known for their political and artistic 31 3. RGB LIGHTING FIXTURES FOR ARCHITEC- 3.6 Lighting Tools & TURAL LIGHTING DESIGN: There are many different RGB lighting fixtures for the - out characteristics. door space. There are many types as well related to the final lighting effect. There The lighting technology has been developed are floodlights, up lights, down lights, wall rapidly in the past decade. The LED technol- washing lights, spotlights etc. For example, ogy provides a wide variety of possibilities. In in the Empire State Building in New York the first part of this background chapter, light- (which is one of the following examples), a ing technologies and tools will be presented in custom version of ColorReach Powercore relation with the following examples that are (long-throw exterior LED floodlight) have presented on chapter 4.1. been used by color kinetics. This exterior Fig. 25: LED RGB 5 M STRIP &re- Fig. 26: Guerrilla Lighting Donostia LED floodlight can combine multiple chan- mote lighting control 2015-torches, 1. PROJECTORS FOR MAPPING PROJECTION: nels of red, green, blue, and white LED light Projection mapping, also known as video sources and it can produce both intensely mapping and spatial augmented reality, is a saturated full-color light and precisely dim- projection technology used to turn objects mable cool white light for an astonishing and buildings into a display canvas for video range of stunning and subtle lighting ef- projection. The projection mapping can work fects (http://www.colorkinetics.com/em- with any projector, the selection depends pire-state-building/). on the budget and on how bright the image should be (http://projection-mapping.org/). 4. XENON LAMPS HOUSED IN SEARCH- LIGHTS: For the Tribute in Light project in 2. LED RGB STRIP & REMOTE CONTROL: An New York, which will be presented and LED Strip Light or LED tape or Ribbon light, is analyzed in chapter 4.2, 88 very strong xe- Fig. 28: Tribute in Light, XENON a flexible circuit board populated by surface non lamps have been used. Each pillar of Fig. 27: Lighting projector, lamps, mounted light-emitting diodes and other light is composed of 44 individual luminaires components. The LED Strip Lights had been set in a 50-foot square. The 5000K, 7000W used in accent lighting, backlighting, task xenon spotlights beam four miles into the lighting and decorative lighting applications. night sky and can be seen up to 20 miles On the following examples there is a collabo- away. In fig.28 we can see the xenon lamps rative project where the participants placed searchlights. A searchlight (or spotlight) is 5m LED RGB Strip on their windows and they an apparatus that combines an extremely were changing the color lights depending luminous source (traditionally a carbon arc their mood (fig.30). Those LED RGB light strips, lamp) with a mirrored parabolic reflector to are addressable, which means that they have project a powerful beam of light of approx- multiple colors and addresses. Each LED has imately parallel rays in a particular direc- its own chip and they can be individually trig- tion, usually constructed so that it can be Fig. 30: ColorReach gered for chasing, strobing and color chang- swiveled about. (https://www.ushio.com/ Fig. 29: Projectors for Empire State Powercore, Philips color Building projection ing (Schiller, 2013). product/uxl-xenon-short-arc/) kinetics 32 BACKGROUND LIGHTING CHARACTERISTICS: COLOR: Comprises two aspects: white light CONTRAST: Contrast is the difference in lumi- Michel in his book “ The shape of space” talks with its different shades from cool to warm, nance or colour that makes an object (or its about the hierarchy of focal accents and the and colored light with its different shades from representation in an image or display) dis- lighting vocabulary. The six characteristics saturated colors to pastel.(Laganier, V. & Van tinguishable. In visual perception of the real that he presents are: 1. People, 2. Movement, der Pol, J. , 2011) It can be visually produced world, contrast is determined by the differ- 3. Brightness, 4. High Contrast, 5. Vivid color either by implementing light color filters in ex- ence in the color and brightness of the ob- and 6. Strong pattern. All of these character- isting white light fixtures, or depending the ject and other objects within the same field of istics are very important for the focal accents technology used projected by a projector or view. The human visual system is more sensi- and the design of a lighting installation which control an RGB fixture by a lighting console, tive to contrast than absolute luminance, we is able to communicate messages. remote control etc. Other color light charac- can perceive the world similarly regardless of teristics: Color Rendering Index (CRI): A mea- the huge changes in illumination over the day INTENSITY: According to Liljefors, the Intensity sure of a lamp’s ability to render colors accu- or from place to place. can be specified by a number of photometric rately. The scale ranges from 1 (low pressure units, which in different respects define quan- sodium) to 100 (the sun). Color Temperature: A DYNAMIC: Dynamic lighting can make a tity. The intensity is connected with other pho- measure of the color appearance or hue of a place breath, representing the life inside. Sub- tometrical units, like Candela, Luminous Flux, light source which helps describe the appar- tle changes of light can have a calming effect Lumen, illuminance, Lux and Luminance. The ent “warmth” (reddish) or “coolness” (bluish) on people due to the similarities to the natural visual field is normally compound by parts of of that light source. Light sources below 3200K light. For example, for memorials, like the Trib- different luminance. Their average luminance are considered “warm;” while those above ute in Light project, a choice is often made is called medium of adaptation luminance. 4000K are considered “cool” light sources. to use no dynamic effects to ensure “absolute The luminance of the surface of working ma- silence” (Laganier, V. & Van der Pol, J. , 2011) terial is called object luminance. DIRECTION: The movement of SML-radiation is expressed by its direction from dominantly STATIC LIGHT: Is the opposite of dynamic light- BRIGHTNESS: Refers to the subjective percep- directed to totally mixed, which is general- ing. It is a light that it doesn’t move and it tion of two objective physical characteristics: ly specified as diffuse. Absorption, reflection doesn’t have a rhythm. the intensity and the amount of light. The and transmission are optic properties and Brightness is able to create hierarchy, increase can be specified for every material. (Liljefors, the understanding of a space. Low light levels A.,1999) are preferred giving a cozy and friendly am- bience. Brightness is used to guide the eyes RHYTHM: Rhythm (from Greek ρυθμός, rhyth- to focus on a specific object. (Laganier, V. & mos, “any regular recurring motion, sym- Van der Pol, J. , 2011) metry” (Liddell and Scott 1996) generally it means a “movement marked by the regulat- DARKNESS: It is the polar opposite to bright- ed succession of strong and weak elements, ness, is understood as a lack of illumination or or of opposite or different conditions”. an absence of visible light.

33 34 4. CASE STUDY

“Start writing, no matter what. The water does not flow until the faucet is turned on”.

Louis L´Amour, Novelist

35 4.1 Project 30 3 categories EXAMPLES TOPICS

An extent analysis was done focused on It is related to a protest action while the projects that are using LIGHT, as a me- other projects are parts of social events, dium to communicate a message and festivals and other occasions. These 30 ex- create social engagement. There is a big amples were analyzed in terms of lighting variety of projects worldwide and some tools, light character, communication the- first-level parameters had to be set. The 30 ory, final “community effect” and social 3 ANALYSE projects that were selected are between engagement. All of these examples have -LIGHT TOOLS 2000 and 2017 and they are focused on a common goal, which is the communica- CONTINENTS -LIGHT CHARACTER -AMERICA -COMMUNICATION three continents, America, Australia and tion of a message in the urban space. -AUSTRALIA THEORY Europe. -EUROPE COMMUNITY EFFECT In this part, a project table has been creat- All the projects were divided in three ed where there are presented some basic categories. The categories were orga- information about the projects. The pro- nized depending on the topic. The first vided information is: location, technology, one is about sociopolitical issues, the topic, message, general information and 1 next one environmental and the last one time/year. about health issues. In some of those projects another category was added. The table was completed after an extent GOAL This extra category, is connected with the research for each project and the informa- COMMUNICATE form that has been used for the tion sources are presented in the end of the communication of a message. project, in the bibliography chapter. A MESSAGE

Categories:

SOCIAL-POLITICAL ENVIRONMENTAL HEALTH PROTEST FORM

Fig. 31: Project categories graph

36 CASE STUDY

37 PROJECT LOCATION TECHNOLOGY TOPIC MESSAGE INFORMATION TIME/YEAR

- Static/flashing colorful light SOCIAL Empower ­the 1. #WeLiveHere2017 is a social TEMPORARY installation LIGHT as a community to action campaign, creating -one month- Waterloo, - Temporary installation medium participate and a community light sculpture and documentary that Every day, 6pm Sydney, - Five meter strip of LED lights to protest express ­how captures the stories of the to 11pm Australia - Remote control: variety and com- they’re feel- Waterloo public housing 9 September to of colors = connected municate a ing about the estate before they are 1 October 2017 with emotions/moods relocated Fig. 32: message. changes. SOCIAL The U.S. and Russia have 2. - Use of lighting fixture LIGHT as a 1,800 nuclear weapons. In - Mapping Projection Uniting people May 2015, during the United TEMPORARY Verizon building, medium to - Static text & image to oppose the Nations Non-Proliferation -one day- New York, USA protest and Treaty (NPT) Conference, we - Project message use of nuclear 27 May 2015 inspire the joined Global Zero in calling ” We’re all sitting ducks” weapons public to take on world leaders to eliminate - Use of bright text Cold War-era practices like Fig. 33: action “launch-on-warning” - Use of lighting fixture SOCIAL Inform the public The OWS Illuminator joined 3. Gulf Ultra Luxury Faction in - Mapping Projection LIGHT as a for the working TEMPORARY Guggenheim - Project changing mes- their fight for workers’ rights medium to conditions of the who work on the construc- -one day- Museum, New sage 1% MUSEUM, “Art Is protest and new Guggen- tion of the new Guggenheim March 2014 York, USA Not a Luxury” among provide infor- heim museum museum on Saadiyat Island other messages mation to the migrant workers in Abu Dhabi. They occupied - Use of dynamic text in Abu Dhabi. the facade with projected Fig. 34: public messages. The light show is 4. - Use of lighting fixtures SOCIAL The show, “Dame de TEMPORARY - Mapping Projection LIGHT as a a reminder that Coeur,” tells a story to the -five days- public. The 20-minute video Notre-Dame - Dynamic video change medium to the 850-year-old 7-11 November cathedral has sur- projection, using 3D map- Paris, France - Use of video & image commemorate ping, includes 17 luminous 2017, twice a vived revolutions, ri- the centenary images and is the creation of night oting, vandals, and of World War I. director Bruno Seillier two world wars. Fig. 35: A global day celebrating the SOCIAL Uniting people TEMPORARY/ 5. - Lighting fixtures (rgb) social, economic, cultural and - Static lighting installation LIGHT as a to celebrate political achievements of wom- ANNUALLY Empire State - Temporary color change medium to the social, eco- en. The day also marks a call to -one day- Building, New - Pink /global symbol for create aware- nomic, cultural action for accelerating gender International York, USA and political parity. ​International​ Women’s Women’s Day International woman’s day ness for gen- Day ​(IWD) has occurred for well der equality achievements over a century, with the first IWD 9 March 2017 Fig. 36: of women run by the Suffragettes in 1911 GLOBAL

38 PROJECT LOCATION TECHNOLOGY TOPIC MESSAGE INFORMATION TIME/YEAR

- Lighting fixtures (rgb) SOCIAL 6. TEMPORARY/ - Static lighting LIGHT as a Lit up in honor International Day Against Homophobia, ANNUALLY The Lowry installation of LGBT Pride, medium Transphobia and celebration Bridge - Temporary color connect people, Biphobia, to create -one day- Minneapolis, change inform and create Minnesota became the awareness for awareness for May, Minnesota, USA - Rainbow: global sym- 12th state to legalize gay equality equality marriage since 2015 bol for LGBT community Fig. 37: SOCIAL - Mapping Projection This lighting project is a 7. LIGHT as a - Dynamic text and image What do you collaboration between TEMPORARY LSE Campus medium to Light Collective and Con- change resist? -one day- Holborn, london, - Projecting message: communicate A socio-political figuring Light. LSE Sociol- ogy is hosting a cam- 30 September England public answers a message and conversation in create a shared pus-wide 3-day festival, 2016 - Use of lighting fixtures the urban space. feeling between Resist: Festival of Ideas - Use of forms,texts, color and Actions’. Fig. 38: people - Lighting fixtures SOCIAL Light mimic the A commemorative public TEMPORARY/ 8. position and shape -88 xenon lamps (7,000 w) LIGHT as a art installation, designed by ANNUALLY Six blocks south of the Twin Towers J. Bennett, G. Bonevardi, housed in searchlights medium to of the World of the World Trade R.Gould, J. Laverdiere and -one day- show com- Trade Center - Static lighting installation Center, forming one P.Myoda, P. Marantz, J.Fisher, 11th of memoration New York, USA - Use of blue color of the most power- C. Stone & FMS* , Municipal September - Art installation compassion ful symbols of New Art Society of NY & Creative Time Fig. 39: and solidarity York’s resilience. SOCIAL Tribute to the Las 9. - Lighting fixtures (rgb) Vegas victims, Solidarity, Compassion TEMPORARY - Static lighting installation LIGHT as a and create a dialogue -54 days-(one Helmsley connected with - Temporary color change medium to about gun control and gun for every victim) Building the orange color, violence going after the Las - Orange/global symbol show 11th of New York, USA it is like a can- Vegas shooting. for the push to end gun compassion dle, and we use The campaign was initiated September violence. and solidarity candles to honor by Scott H. Rechler Fig. 40: people - Lighting fixtures (rgb) 10. SOCIAL German flag Islamic terrorist attacks in -80giant projectors on the Berlin, a truck was deliber- LIGHT as a colors in Paris to TEMPORARY ground & 100 on the tower ately driven into the Christ- Eiffel Tour medium to show compassion -one day- Paris, France - Static lighting installation show com- and solidarity for mas market next to the Kaiser Wilhelm Memorial 19 December - Temporary color change passion and the victims of the Church at Breitscheidplatz, 2016 - German flag: global solidarity terrorist attacks in symbol Berlin. 12 killed, 56 injured Fig. 41:

39 PROJECT LOCATION TECHNOLOGY TOPIC MESSAGE INFORMATION TIME/YEAR

TEMPORARY 11. Islamic terrorist attacks in Empire State SOCIAL -one day- - SWITCH OFF THE LIGHTS Go Dark to Las Ramblas Barcelona, Building, New NO-LIGHT as (van drove into pedestri- 17 August 2017, - Darkness Honor the York, USA a medium to ans) 15killed, 131 injured Barcelona, Spain - Symbolic turn off light show com- victims - Islamist terrorist attack in Eiffel Tour 22 May 2017, - Respect for the victims passion and the Manchester Arena. Paris, France Manchester, solidarity. (bombing), 23killed, 500 injured. England Fig. 42: Fig. 43: 12. SOCIAL French flag in - Lighting fixtures/ projectors London to show LIGHT as a Islamic terrorist attacks in TEMPORARY London Eye, - Static lighting installation medium to compassion and Paris, a series of coordi- -one day- England - Temporary color change show com- solidarity for the nated terrorist attacks, 14 November - French flag: global symbol passion and victims of the 137 killed, 413 injured 2015 solidarity. terrorist attacks Fig. 44: ENVIRONMENT In the COP21, United 13. - Use of lighting fixtures In Paris, Nations Climate Change - Static lighting LIGHT as a France, Friday, Conference The countries TEMPORARY Eiffel Tour - Mapping projection medium to Dec. 11, 2015 agreed to hold the increase -one day- Paris, France - Project message highlight the in the global average tem- 12 December Paris climate perature and pursue efforts 2015 ” FOR THE PLANET” to limit the temperature - Using text agreement. increase. Fig. 45: “Overpass Light Brigade” did 14. - Static lighting ENVIRONMENT Uniting people an intense activism focused - Bright text LIGHT as a to protect the upon water and indigenous TEMPORARY Lake Monona - Using bright white color medium to planet “every rights in general, and with this -one day- in Madison, action they help highlight the letters “EVERY DROP create aware- drop counts! December Wisconsin, USA courageous and important 2016 COUNTS” ness for the water waste” work being done by so many water waste. indigenous Water Protectors Fig. 46: and non-indigenous allies. - Use of 40 lighting Projecting Change: In the 15. projectors (20,000lumen) ENVIRONMENT Uniting people Empire State Building is - Mapping Projection LIGHT as to protect the produced by the Oceanic TEMPORARY Empire State - ESB lighting installation a medium planet. It is a Preservation Society and -one day- corresponding to the Obscura Digital. For 3 hours, Building, New to highlight Call to action threatened species were August 1st, York, USA projection 2015 - Use of bright colorful photos, endangered beamed onto the facade of animals. the ESB, part of the Discovery video Channel’s new documentary Fig. 47: -Visually impressive content Racing Extinction. 40 PROJECT LOCATION TECHNOLOGY TOPIC MESSAGE INFORMATION TIME/YEAR

ENVIRONMENT Greenpeace highlights TEMPORARY 16. - Mapping Projection A message to the dangers of nuclear LIGHT as a -one day- Hungarian - Static projection text the politicians power, and called on medium to to vote against the third an- Parliament, - Project message a huge both current and pro- create aware- the expansion spective politicians to niversary of Budapest ” nuclear scream” and ness for the of Hungarys vote against the expan- the Fukushima Hungary “Stop Paks 2” Parks Nuclear environment sion of Hungarys Paks nuclear disaster - Using text and image Power plant Nuclear Power Plant and protest 11 March 2014 Fig. 48: - Mapping Projection ENVIRONMENT Projection 17. Greenpeace is doing - Dynamic flashing text LIGHT as a against TRUMP Palace of Culture a Night screening TEMPORARY change medium to decision to with- and Science, at Palace of Culture -one day- - Project message create aware- draw the US form in Warsaw criticises Warsaw 5 July 2017 ” NO TRUMP, ness for the the landmark Trump’s anti-climate Poland policy. YES PARIS” environment Paris climate and protest aggreenment. Fig. 49: - Using text - Mapping Projection ENVIRONMENT A message to leaders 18. Neurath Power The projection meeting at the UN - Static projection LIGHT as a Station, is a message to climate talks in Bonn, TEMPORARY text & image medium to COP23, projecting an Grevenbroich, leaders meet- -one day- - Project message create aware- image of faces from Northrhine ing at the UN the Pacific Islands and 10 November “No future in fossil fuels!” ness for the around the world onto Westphalia, climate talks in 2017 and “#COP23” environment the cooling tower of a Germany Bonn, COP23. lignite power plant in - Black and White/no color and protest Neurath. Fig. 50: ENVIRONMENT After President D.Trump 19. - Lighting fixtures/ color filters Illuminating LIGHT as a announced that the - Static lighting installation monuments in medium to United States would TEMPORARY City hall - Temporary color change green to show withdraw from the Paris create aware- -one day- Paris, France - Green color - global support for the Agreement on climate ness for the 1 June 2017 symbol climate pact. change, monuments environment around the world were and protest. illuminated in Green Fig. 51: ENVIRONMENT The global environmental 20. - Static lighting movement 350.org cam- LIGHT as a A protest paign, has been driven by TEMPORARY - Bright text young people and was University of medium to campaign to -one day- - Using bright white/ blue first started by students on Wisconsin, create aware- divest from university campuses in the color letters “DIVE$T April 2014 Madison, USA ness for the fossil fuels. US. At the University of Wis- FROM FOSSIL FUEL” consin-Madison, students environment brightened up their cam- and protest paign by using panels to Fig. 52: stage a night action. 41 PROJECT LOCATION TECHNOLOGY TOPIC MESSAGE INFORMATION TIME/YEAR

- SWITCH OFF THE LIGHTS TEMPORARY 21. ENVIRONMENT Switched off “be heroes for our planet, - Darkness our home.together, -one day- NO-LIGHT as a their lights/Turn Brandenburg - NO Energy let’s #ChangeClimate 4 December medium to off power to Gate Berlin, - Symbolic turn off light Change” 2015 create aware- raise aware- Germany - Use of candles to write a ness of climate WWF’s Earth message, “Save our climate ness for the change -Hour now!” environment Fig. 53: TEMPORARY 22. ENVIRONMENT Switched off “be heroes for our planet, - SWITCH OFF THE LIGHTS Parthenon, NO-LIGHT as a their lights/ Turn our home.together, -one day- - Darkness Athens, medium to off power to let’s #ChangeClimate 4 December - NO Energy Change” Greece create aware- raise aware- 2015 - Symbolic turn off light ness for the ness of climate WWF’s Earth environment change -Hour Fig. 54: Greenpeace launched - Mapping Projection Greenpeace em- TEMPORARY 23. ENVIRONMENT phasise the need a highly visible and - SGM’s G-Spot LED for the world to -one day- Torup, LIGHT as a eye-catching campaign at moving head to project change into 100% the the Intergovernmental 2014 Denmark medium to renewable ener- Panel on Climate Change’s onto four wind turbines gy in the future - Use of color create aware- gathering in Copenhagen, and demonstrate Denmark - Use of image ness for the green energy how this is actually designed by ÅF lighting. Fig. 55: possible. - Lighting fixtures/ color filters TEMPORARY 24. HEALTH Commemoration San Francisco, - Static lighting installation Global action to increase -one day- LIGHT as a of the World AIDS California, - Temporary color change Day & create awareness, early detection 1 December medium to and treatment as well as USA - Red color - global symbol awareness for World HIV/ create aware- palliative care of AIDS/HIV. for AIDS/HIV prevention and AIDS DAY ness for AIDS control.

Fig. 56: Lighting design &Concept: HEALTH New opera- 25. - Lighting fixtures ASlight, Installation: Karama- TEMPORARY Athens Poliklinic, - Static lighting installation LIGHT as a tion of the new legos Bros,A new anonymous -three days- Athens, - Temporary red ribbon and medium anonymous and and free control center for 1- 3 Decem- Greece lighting installation to create Free Control HIV/AIDS was created in Ath- ber 2017 ens Polyclinic by the collabo- - Red ribbon: global symbol a w a r e n e s s f o r Center for HIV/ World HIV/ AIDS “ Simio- ration of the HCDCP and the - Light Art installation AIDS Evangelismos Hospital. AIDS Day plus” Fig. 57:

42 PROJECT LOCATION TECHNOLOGY TOPIC MESSAGE INFORMATION TIME/YEAR

26. - Mapping Projection TEMPORARY -Guggenheim Museum, HEALTH A gesture to Visual AIDS projected our - Dynamic text change Day With(out) Art 2015 -one day- -Metropolitan Museum of Art, - Projecting message: LIGHT as a demonstrate project Radiant Presence 4 December -The former site of ex.“AIDS ON GOING ON” medium to that every day is on the facades. Few 2015 St. Vincent’s Hospital - Use of color create aware- World AIDS Day. days after World AIDS New York, USA - Use of image ness for AIDS Day on December 1, by the illuminator . Fig. 58: TEMPORARY/ 27. Increase aware- Global action to increase HEALTH ANNUALLY Sydney Opera House - Use of lighting fixtures LIGHT as a ness for pan- attention and support for the awareness, early -one day- Sydney, New South - Mapping Projection medium to creatic cancer - Use of video and support for detection and treatment World Pancreatic Wales, Australia, create aware- as well as palliative care - Purple color- symbol for people with the Cancer Day ness for pan- of parncreatic cancer 15 November Pancreatic cancer creatic cancer disease. disease. Fig. 59: GLOBAL TEMPORARY/ 28. - Lighting fixtures/ color filters HEALTH Increase aware- Global action to increase ANNUALLY - Static lighting installation LIGHT as a ness for breast attention and support Panathenaic for the awareness, early -one day- - Temporary color change medium to cancer and stadium, Athens, detection and treatment World Breast - Pink color - global symbol create aware- support for the Greece as well as palliative care Cancer Day for Cancer ness for breast people with of breast cancer disease. 17 October 2017 cancer breast cancer. Fig. 60: GLOBAL TEMPORARY/ 29. - Lighting fixtures/ color filters HEALTH Increase under- Global celebration for the international autism ANNUALLY #light it up blue - Static lighting installation LIGHT as a standing, ac- - Temporary color change medium to ceptance and community. In the Autism -one day- Global action Awareness Day land- Autism Speaks - Blue color - global symbol create aware- futher support marks and buildings light for Autism disorder ness for Autism for people with blue in support of people 2 April autism. living with autism. GLOBAL Fig. 61:

- Lighting fixtures/ color filters HEALTH Increase aware- Global action for the TEMPORARY/ 30. - Static lighting installation ness for dia- ANNUALLY London Eye, LIGHT as a world Diabetes day. In - Temporary color change medium betes disease the Diabetes Day land- -one day- London, England - Blue color - global symbol to create and support marks and buildings light World Diabetes for Diabetes disease for people with blue in support of people Day a w a r e n e s s f o r with diabetes. Diabetes diabetes. 14 November Fig. 62: GLOBAL 43 4.2 Selected projects SELECTED CASE STUDIES

After gathering 30 different proj- The massive media have placed a vi- ects, analyzed and divided them tal role for all the following projects and 4.2.1 into three categories (sociopolitical, there is a range of different communi- #Welivehere, Australia environmental, health), I set some cation theories that have affected the parameters in order to select which local and global impact of the lighting projects could be the most bene- installations. 4.2.2 ficial for the research objectives. The first and most important objec- In the following chapter, each of the six Tribute in Light, USA tive is to analyze light as a medium selected projects will be presented in for communication, education and an analytical way. awareness raising. All the projects are analyzed based on 4.2.3 a specific format. Projecting Change: The selected parameters are related to topic, the location, the technolo- 1. Location & context Empire State Building, USA gy, the lighting character, the com- 2. Time: duration of the project munication theory that have been 3. Message & meaning used as well as the global or local 4. Massive media and social media 4.2.4 impact that the project had. 5. Lighting fixtures & lighting character Project Resist, UK 6. Lighting table In total, six projects were selected for 7. Links for more information the in-depth analysis. Two are taking 4.2.5 place worldwide, two are in US, one is located in Australia and one in Eu- Light it up Blue, worldwide rope. Three are about sociopolical issues, two about environmental and one about health issues. 4.2.6 Earth Hour, worldwide All 6 projects have different light- ing character and there is a variety of lighting technologies that have been used.

44 CASE STUDY

45 TIME: DURATION OF THE PROJECT: 4.2.1 This lighting installation lasted for one month. From the 9th of September until the 1st of October, the #welivehere, lights were turned on every day at 6pm until 11pm. The project started in 2016 and there were many Waterloo, Sydney, community events, workshops and seminars during the last year, in order to engage people and create Australia a documentary that captures the stories of the Wa- terloo public housing estate, before the relocation of LOCATION & CONTEXT: the residents. The following project is taking place in Syd- ney, in Australia and more specifically in MASSIVE MEDIA & SOCIAL MEDIA The project name by itself is using a hashtag which Waterloo, an inner-city suburb of Sydney. It Fig. 63: #welivehere2017 is located 4 kilometeres South of the Sydney benefits the communication of the event from Wa- central business district and is part of the lo- terloo area (Local) to all over the world(global). cal government area of the City of Sydney. Photo contests and other activities invited Sydney In 2015 the UrbanGrowth announced their citizens to share pictures of the light sculpture on their plans to redevelop Waterloo’s public hous- Instagram and Facebook accounts. ing estate, relocating 4500 public housing Moreover, local and global newspapers, online and tenants and building 10,000 new homes, printed wrote many articles for this community proj- 70% of which will be private dwellings. The ect and supported the organization, by spreading proposed development would see a huge the project all over the world. increase density and a change of ‘social mix’ with the introduction of a large pro- MESSAGE & MEANING: portion of private housing and commercial “A NEW project will shine a light on the people who make up properties. The new Metro station adjacent Waterloo’s public housing community” (The Daily Telegraph- Fig. 64: #welivehere2017 to the estate was the catalyst for the devel- online) opment. The project is expected to take up “These are people’s homes’: the art project making public to 20 years and it is not clear where the res- housing in Sydney’s Waterloo glow” ( The guardian-online) idents will move and how they will be relo- cated back, in the new area. 1. Light is used as a medium to protest and empower ­the community to participate and to express ­how they’re FURTHER INFORMATION: feeling about the development and the relocation. #WeLiveHere2017 is a social action cam- paign, creating a community light sculpture 2. “Every single light installation in the building, is a and documentary that captures the sto- conversation and the start of a miniature relationship” ries of the Waterloo public housing estate, (C.Lewis) between the public and the resident of the before they are relocated. They were also apartment. The lights communicate into the outside sharing resident’s stories and portraits in their world that people are living there and remind the New Fig. 65: Turanga and Matavai towers. Social Media accounts. South Wales government of their duty to protect them. 46 CASE STUDY 3. It is an artistic result, a lighting sculpture which LIGHTING FIXTURES/ LIGHTING CHARACTER: can be included in the category: “artivism” They are using the word “LIGHT SCULPTURE” to (Background X). The project is an activism action: characterize the project. It is a sculpture that is a statement of habitation and of presence” lighting up from within. The colorful lights have a very important meaning. They are connected with 4. The project aims to show the impact of the State the mood and the “voice” of the residents. The resi- government’s decision to redevelop the area and dents have been participated in color theory sem- relocate the public housing tenants. inars, in advance, organized by #WeLiveHere2017 team. Up to 500 residents in the two public housing 5. When politicians and property developers towers, were each being given a colored “mood threaten to knock down Sydney’s Waterloo and light” to install in their window. Technically, was a force public housing battlers to the edges of the 5-meter RGB LED strip and a remote control which Fig. 66: ‘These are people’s homes. They’re not just real city, the locals fight back: their war cry an ambi- allowed them to change the colors and express estate’: Catherine Skipper at home with Finnegan tious artwork, the making of which will both unite their feelings about the neighborhood changes and divide. Some of the aims and objectives of this and their possible relocation with the outside world. action are: a. Bring the debate on public hous- One window might be blue, another magenta, ing to the fore by generating coverage on both green, red, another yellow. Some fade through the traditional and social media forums and reach a color wheel and others, strobe or flash. national broadcast audience of 500.000 viewers. b. Shift negative perceptions of people who live “It’s been this quite lovely organic process: ev- in community housing by sharing positive stories ery day there’s another three or four light colored of tenants in Waterloo, on social media platforms, windows, so every night it’s a little bit brighter,” C. through the film, and media outlets. Lewis says (https://www.theguardian.com/artand- c. Ensure that redevelopments of public assets in design/2017/sep/06/these-are-peoples-homes- NSW are done with proper community consulta- the-sydney-art-project-making-public-housing- Fig. 67: I am Henry, I am 73. (#welivehere2017) tion by highlighting the situation in Waterloo, giv- glow?CMP=soc_567). ing the people living in the Waterloo community a voice, and advocating for their participation in LIGHTING TABLE: the redevelopment of the precinct. - Static/flashing / strobing colorful light installation d. Campaign for the fair treatment of the people - Temporary installation who live on the Waterloo estate by ensuring that - Five-meter strip of LED lights for each apartment promises are kept to retain them in the area and - Remote control: variety of colors = connected with the that community services are a key component of resident’s emotions/moods the redevelopment plan. (5, is part of the docu- mentary synopsis and aims &objectives: http:// READ MORE: www.documentaryaustralia.com.au/films/4088/ 1. Documentary Australia Foundation : http://www.documen- welivehere2017) taryaustralia.com.au/films/4088/welivehere2017 2. Official website for the project: http://www.welivehere2017.com. Fig. 68: I’m Clive, I am 67 (#welivehere2017) 6. “From the lights and liveliness and vitality of it, au/ then just comes the blackness,” C. Lewis says. “Af- 3. Residents Stories: https://www.theguardian.com/austra- lia-news/2017/jul/12/i-feel-on-the-verge-of-extinction-the-battle-for- ter all, these buildings will be destroyed. And that 47 matters to me.” sydneys-waterloo THE IDEA: 4.2.2 On the night of September 11,2001, the artists Paul Myoda and Julian La Verdiere watched from Brook- lyn an ashy cloud formed over the remnants of the Tribute in Light, World Trade Center. During the rescue efforts, the lights that illuminated ground zero, illuminated that New York, USA smoke and both men felt that they could see the buildings. That was the inspiration behind the Tribute LOCATION & CONTEXT: in Light memorial project. (Artists: John Bennett, Gus- In the 11th of September in 2001, a series of tavo Bonevardi, Richard Nash Gould, Julian LaVerd- four coordinated terrorist attacks by the Is- iere, Paul Myoda and Paul Marantz by the Municipal lamic terrorist group Al-Qaeda took place Art Society and Creative Time. The MAS continued to in United States. The twin towers in the World present Tribute through 2011; from then on, the 9/11 Fig. 69: World trade center 2000 from Jersey trade center, New York, had collapsed with- Memorial and Museum are the responsible.) in 1 hour and 42 minutes after the crash of two airplanes on the North and South tower. TIME: DURATION OF THE PROJECT: The attacks killed 2,996 people, injured over Tribute in Light is an ephemeral memorial. Six months 6,000 others and caused at least $10 billion after the attacks, they turned on the lights for the first in infrastructure and property damage. time and they kept the installation on for a week. Then on the one-year anniversary they turned it on Some days after the attacks, The New York for several nights. After the first year, they turned on Times Magazine set as a cover, an artistic the lights for fewer nights and until now, the installa- image showing two “Phantom Towers”. tion is on every 11th of September on the anniversary Art director: Janet Froelich, designer: Joel of the attacks. Cuyler, photo editor: Kathy Ryan. “Phan- tom Towers” conceived by Paul Myoda and MESSAGE & MEANING: Fig. 70: New York times cover- Phantom Towers Julian LaVerdiere, original photograph by - “The light towers, seem to have a personal connec- Fred R. Conrad, digital manipulation by The tion with every single person.” Everyone see on it a New York Times. (Fig.70). Six months later, different meaning. It is a short of blank and anony- the Tribute in Light installation was switched mous enough that you can project whatever mean- on for the first time and was on for a week. ing you want to.” Gustavo Bonevardi, Co-creator, in- terview by Pearl Gabel on New York Daily News. FURTHER INFORMATION: - It symbolize the spirits of the thousands caught in the A memorial to the lives lost at the World towers’ tragic collapse. Trade Center which looks to heal the New - “People realized that art has a potential healing York City skyline by restoring the image of power.” P. Myoda the Twin Towers in a medium that is ethere- -“The lives that were lost in the city that day involved al, indestructible and symbolic of life. Pro- a huge cross-section of culture and demographics. duced annually by the 9/11 Memorial Mu- This tribute was never meant to only symbolize Amer- Fig. 71: Tribute in Light 2011 seum. ica, it was meant to symbolize the loss of life, period. All of them. There are no borders on life.” LaVerdiere 48 CASE STUDY “The towers had always been this marker, a sort of LIGHTING FIXTURES/ LIGHTING CHARACTER: nautical point you could use in the city to help you The 88 searchlights that produce the two four- finding your way around, that marker was replaced miles height pillars of light are currently arrayed by the plume of apocalyptic smoke and light that once a year on the roof deck of the Battery was disorienting and created a phantom limb sen- Garage, six blocks South of the World Trade sation. It felt like the buildings were still there, hidden Center site. The light is the monument, not the behind the smoke.” LaVerdiere(http://people.com/ luminaires. human-interest/artists-behind-tribute-in-light-911- memorial-continue-to-inspire-people-could-start- COLOR: BLUE looking-up-again/) At one point in the process, the artists say that Mayor Rudolph Guiliani requested them to In the beginning, the team began meeting with change the lights from white, to red, white and Fig. 72: Tribute in Light families’ of 9/11 victims to discuss the plan. It was in blue. (USA flag colors) “We told him there was one of the town halls that a woman remarked that no way we were going to do that,” Myoda the original name of the project, “Towers of Light,” says. “There were more than 90 countries who placed too much emphasis on the buildings, and lost citizens in the towers.” (www.people.com) not enough on the people. The artists agreed and “Tribute in Light” soon became its new name. Despite the Tribute in Light’s magical beauty, “When the lights appeared for the first time, it was it’s actually dangerous for birds, who can get one of the most peaceful and silent events, I had confused and caught in the light beams. For ever witnessed,” Myoda says. “Until that night, I that reason, there are moments when the lights don’t recall ever being in New York and hearing so are turned on and off periodically to allow the little. When the lights were on, everything seemed to birds to move. stop. It was incredibly quiet.” LIGHTING TABLE: Fig. 73: Tribute in Light “We imagined a monument that would fill the void - Lighting fixtures, 88 xenon lamps (7,000 w) housed in between the towers, in a medium that symbolizes search lights. (Total energy: 616.000 w) life”. “We set out to “repair” and “rebuild” the sky- - Static lighting installation line—but not in a way that would attempt to undo - Use of blue color or disguise the damage. Those buildings are gone - Art installation now, and they will never be rebuilt. Instead we would create a link between ourselves and what READ MORE: was lost. In so doing, we believed, we could also 1. Video “Fisher Marantz Stone Tribute in Light.mov”, repair, in part, our city’s identity a n d o u r s e l v e s ” . https://www.youtube.com/watch?v=ue1x8umo- G.Bonevardi HAM&t=12s 2. “Tribute in Light” Explained by Gustavo Bonevardi “It is an emotional response more than anything… http://www.slate.com/articles/arts/culturebox/2002/03/ the towers are like ghost limbs, we can feel them tribute_in_light_explained.html even though they’re not there anymore.” Laverd- Fig. 74: A 2013 photograph of one of the lights. 3. Official memorial website: https://www.911memorial. iere and Myoda had said. org/tribute-light 49 They made the biggest “billboard” of the world 4.2.3 by using the “Empire State Building” as a can- Projecting Change, vas of their project LOCATION & DURATION OF THE PROJECT: Empire State Building, For one night on August 1st, 2015, the stunning- displays of threatened species were beamed onto the Empire State Building between 9 p.m. New York, USA ET and midnight on Saturday, as part of the Dis- covery Channel’s new documentary Racing CONTEXT: Projecting Change: The Empire State Building is Extinction. produced by the Oceanic Preservation Society and Obscura Digital, in collaboration with Dis- MESSAGE & MEANING: Fig. 75: Projecting change - Empire State Building covery Channel, Vulcan Productions, Spinifex “We need more people to understand its worth Group, Photo Ark, the Li Ka-Shing Foundation doing. The small choices we make each day and Empire State Building Trust. can lead to the kind of world that we all want for the future. We can create a tipping point FURTHER INFORMATION: together. JOIN US” Oceanic Preservation Society (OPS) is a team of passionate artists, activists and change agents The vision of Academy Award® winning, Racing committed to sustainability and preservation of Extinction director Louie Psihoyos and world-re- our oceans & planet, USA. nowned visual artist Travis Threlkel (Chief Cre- According to OPS, last year 22% of the Great ative Officer of Obscura Digital), this projection Barrier Reef died off and scientists predict anoth- event on one of the world’s most iconic build- er world-wide devastating bleaching event this ings will catalyze a movement to preserve the year. 25% of the ocean’s species live on cor- real treasure of our beautiful planet: its life. Join Fig. 76: Projecting change - Empire State Building al reefs and almost a billion people rely on the the race to save these species at racingextinc- oceans for food and sustenance, but the coral tion.com reefs may be the first major ecosystem to col- lapse because of humanity’s assault. The con- The Projecting change project is an art event ferences and activism in the world can’t help the meant to draw attention to the creatures’ public see the beauty and importance of these life-sustaining metropolises that lie beneath sur- plight against mass extinction. face.

OPS organization has found a way to break through the noise and reach the world at scale. Using 3D projection mapping technology onto the world’s most iconic structures, we have cre- ated the most audacious billboards in the world. Fig. 77: Projecting change - Empire State Building

50 CASE STUDY MASSIVE MEDIA & SOCIAL MEDIA LIGHTING FIXTURES/ LIGHTING CHARACTER: The show was captured, edited and promi- Using 40 stacked, 20.000-lumen projectors on the nently featured as the uplifting ending of the roof of a building on West 31st Street, Travis Threlkel film. This first-of-its-kind event generated head- founder of Obscura Digital and Louis Psihoyos il- lines with over 1 billion impressions in world- luminated the night with live video projections, wide media coverage. (http://obscuradigital. including (an 8 minute environmentally-focused com/work/racingextinction/) tableau,combined with iconic imagery of endan- gered species, that made each 15 minute cycle Visitors to the 86-year-old building were en- running throughout the night a unique experience) couraged to share their photos of the spec- showing a Noah’s ark of animals, including Cecil tacle on social media, using the hashtag the Lion, a snow leopard, a golden lion tamarin #RacingExtinction and manta rays, along with snakes, birds and vari- Fig. 78: Projecting change - Empire State Building ous mammals and sea creatures, choreographed The project was covered from the media and to Racing Extinction’s original songs. Throughout, become famous because of its size and im- the LED lights at the top of the building were coordi- pressive performance. nated with the projection, by the building’s lighting designer. Hundreds of socially conscious guests gath- ered on the rooftop of 230 Fifth Avenue while The projection was covering 33 floors of the iconic many viewed online via livestream (at www. building, the images were more than 350 feet tall racingextinction.com), as these incredible im- and 186 feet wide. ages were projected, urging people to join the movement against species extinction. LIGHTING TABLE: - Lighting fixtures, 40 projectors (20,000lumen) The global conversation continued with the - Empire State Building lighting installation coordinated with Fig. 79: Projecting change - Empire State Building theatrical release of Psihoyos’ documentary the mapping projection film RACING EXTINCTION. Paul G. Allen’s Vul- - Use of bright colorful photos can Productions was leading the social impact - Use of visually impressive content campaign around the film to save endan- - Video mapping projection & lighting installation gered species and reduce carbon emissions. READ MORE: Organizers said the event was a “first-of-its- 1. Projecting Change Empire state building video, kind” live video projection. https://vimeo.com/135537038 2. Projecting Change at the Empire State Building Complete Video (4h): https://www.youtube.com/ It drew huge crowds of spectators, who watch?v=w91i1X9UgrY&t=2666s stopped to gaze at the display and capture 3. Projecting change-obscura digital: http://ob- their own pictures. scuradigital.com/work/racingextinction/ 4. Racing extinction project http://www.opsociety. org/ Fig. 80: Projecting change - Empire State Building 5. Official website:http://racingextinction.com/

51 MESSAGE & MEANING: 4.2.4 In this project, light starts a sociopolitical con- versation in the urban space. By altering the Project Resist, appearance of a building with public respons- es. It is a medium of interaction between the Holborn, London, citizens, festival visitors and the building. By asking a simple question: What do you re- sist? they aimed to find out what people felt England strongly about. They asked the participants of the conference to write their answer on a LOCATION/ CONTEXT: post it note and put up on a wall, tweet their Project Resist took place in the LSE Sociology, at answer of post into Facebook. They wanted Holborn campus the participants to share their thoughts with Fig. 81: Project Resist them. FURTHER INFORMATION: This lighting project is a collaboration between That was the way that they created social Light Collective and Configuring Light. LSE Sociol- engagement through this lighting installation. ogy hosted a campus-wide 3-day festival from All the people who took part, they saw their the 28th to 30th of September 2016, entitled ‘Re- words on the building. It was like putting their sist: Festival of Ideas and Actions’. The aim of the words into the history of resistance. festival was to draw students and the wider public into the distinct ways in which the theme of resis- The answers were shared with the wider pub- tance has been interpreted and understood with- lic in the last evening of the event by project- in academic research, the arts, grassroots activ- ing them onto the facade of the New Aca- ism campaigns, student debate and mainstream demic building. The participants, came up politics. This major public engagement event with serious, wired, funny answers that were Fig. 82: Project Resist used various LSE spaces in creative ways and projecting on the building. Then, the graph- turned the University inside out, featuring events ics of the projections were using references including public discussions, film screenings, work- to a whole history of political messages, like shops, debates and art exhibitions, each curated 70s punk etc. by LSE academic faculty members and students The projection lasted one hour and every- in collaboration with outside partners. body was standing there checking their an- swers on the wall. TIME: DURATION OF THE PROJECT: The Project Resist lighting project was part of the As Lighting Collective shared on the “experts festival and the lighting projections were present- interview” (chapter 4.3.3.2), light is an easy ed in the last day of the festival. medium for people and allows them to have an opinion on. Shared experiences provoke interaction between participants. Fig. 83: Project Resist

52 CASE STUDY MASSIVE MEDIA & SOCIAL MEDIA The following post was published on the According to Light Collective, light is a medium 29/09/2016 on the official page of the Config- of interactions. It is a great way to start a con- uring Light. versation with all types of people. It works across ages and nationalities. More especially, projec- What do you RESIST? tion, when is done in a guerilla style has tradition- Send us your answers TODAY (#ProjectResist or ally been used to provoke reaction. on FaceBook LSEResist or @ConfigLight). Then join Light Collective/SLM at LSE Friday night (30/9/16, 7.30) to see all our responses project- LIGHTING TABLE: ed onto the New Academic Building…Project -dynamic image Resist – a collaboration between Light Collec- -changeable light projections Fig. 84: Project Resist tive and Configuring Light – explores how light -lighting mapping projection and light graffiti can extend our political ex- -light graffiti perience and activism into urban spaces. And -social project celebrate the three days of the LSE Resist Fes- -responses from the public and then projected tival. Let us know, ‘What do you Resist?’ and on the wall join us for a light intervention…!

It’s about a public invitation through their so- READ MORE: cial media, in order to inspire people to take 1. Official website 1,https://lightcollective.net/ part on this “light intervention” do/project_detail/project-resist 2. Official website 2,http://www.configuringlight. org/activity/project-resist/ 3. Taking with LIGHT-PROJECT RESIST VIDEO: Fig. 85: Poster event LIGHTING FIXTURES/ LIGHTING CHARACTER: https://www.youtube.com/watch?v=LMuvY79g- In the projections there are many different JZg fonts, colors, patterns and sizes. According to the organizers, the idea was to replicate tradi- tional resistance posters from other periods of history - many of these use vibrant colors - in particular red.

Even though the projected message was the important part, the graphics supported the strong visual effect. The projection lasted for one hour and it was a 10 minutes loop of dif- ferent images and answers. Fig. 86: Project Resist

53 4.2.5 MASSIVE MEDIA & SOCIAL MEDIA LIUB is another successful global event which is us- Light it up Blue, ing the massive media and more specifically the internet and social media to share their events worldwide campaign and create a strong impact all over the world.

LOCATION & CONTEXT: They have created the following hashtags: #ligh- Each April 2nd, Autism Speaks celebrates glob- titupblue and #liub and they invited people to ally the start of its signature campaign, Light It wear blue clothes, take a selfie (a photograph Up Blue or LIUB, along with the international au- that one has taken of oneself, typically one taken tism community in recognition of UN sanctioned with a smartphone or webcam and shared via World Autism Awareness Day and April, World social media) and post it on social media. They Autism Month. are using a #LightitupBlue frame for Facebook Fig. 87: Autism Speaks #lightitupblue campaign Thousands of iconic landmarks and buildings, join and Twitter profile photos, where they can create the hundreds of thousands of homes and com- a visual impact on the timeline and user’s profiles, munities around the world to “light blue” in sup- on these two social media platforms. port of people living with autism. Autism-friend- ly events and educational activities take place They are inviting people first to light up their homes all April to increase understanding, acceptance by using a blue light bulb or blue filters. They can and further support for people with autism. also contact local city officials and businesses to (https://www.autismspeaks.org/liub/what-liub) join in the blue movement and then take pictures from their homes and famous monuments in their TIME: DURATION OF THE PROJECT: cities to share them online. The initial day for Light It Up Blue (LIUB) was April 1, The LIUB event compliments the World Autism 2010. Since 2011, LIUB has always begun on April Awareness Day event. Both events support and Fig. 88: This blue crew gathered at Chicago’s 2, which is World Autism Awareness Day. reflect the same goal, which is to make the soci- famous Cloud Gate structure ety, recognizing and accepting people with au- tism spectrum disorder. MESSAGE & MEANING: The role of lighting as a medium in that specific As the organization, described in the expert inter- project has to do with the goal to communicate view answers, “Television, Internet and Social Me- a specific message all over the world. The mes- dia have been vital in spreading the word about sage is acceptance and awareness for autism. LIUB. The mass communication system makes It is a global action where buildings from all over LIUB so successful because it spreads visually stun- the world are participating. ning blue images of international landmarks and buildings around the globe”. Media coverage is The blue light, becomes a symbol and is defined responsible for making LIUB a global event. as a signifier to raise awareness for the specific issue. Fig. 89: Sagrada Familia Barcelona Autism Awareness day

54 CASE STUDY

LANDMARKS AND OTHER BUILDINGS: For example: Every fixture is different. Some fixtures may The “light it up Blue” campaign can be seen have a slot and frame for sliding the filters in, but if no slot is in private hotels, companies etc., private hous- available, then you would need to determine how to secure es where the public wants to take part on the the filter in another manner – oftentimes clips will work. IM- lighting event and finally, it can be seen in fa- PORTANT: 1. Leave some separation between the filter and the lamp itself—the lamp can get hot and if the gel sheet mous landmarks. According to Autism speaks, is too close to the lens, it could melt! 2. Securing the filter to “Great Pyramids or Christ the Redeemer, blue the glass lens of the luminaire is best. Try to cover the entire has a greater impact because they’re instant- lens – as white light will overpower the blue light. 3. Rosco ly recognizable world symbol and they are also offers a product called Super Heatshield (#1991) that will even more memorable when they’re blue. You absorb the heat from the light. 4. Your local Rosco dealer can experience and appreciate that landmark in a provide guidance concerning your installation. If you have different way.” The blue - lit landmarks can tru- questions, we suggest speaking with a representative prior to Fig. 90: LOGO Autism Speaks ly capture the eye and imagination more than purchasing.” ordinary buildings. People are used to see their city’s landmarks in a specific night illumina- OPTIONS FROM ROSCO WEBSITE: tion, while that day, they will see it blue. This is 1.Project an Autism Speaks Gobo 2. Blue Lighting on The Inside Using 24”x25’ rolls, you can tape a characteristic that elevates the message of 24”x48” pieces onto your office fluorescent fixtures & tape autism awareness and acceptance to a global Roscolux #80 to your windows, 48”x25’ rolls audience. 3. Blue Lighting on The Outside: Roscolux #80 Primary Blue for However, lighting homes and buildings also use on brighter light fixtures or if the illuminated surface is light have a strong local impact as it demonstrates in color, or Roscolux #68 Parry Sky Blue on lower-medium in- that any person can participate in autism tensity light fixtures or if the illuminated surface is darker col- awareness at any level. ored. Blue color: Color becomes an identifier and signifier of autism “LIUB is really a grass-roots campaign and is in that project. The reason that blue is a symbol for and is associated with autism spectrum disorder (ASD) is because Fig. 91: Sydney Opera House only possible because homes, businesses and autism is almost five times more common among boys than countries consistently keep engaging in it. “( girls, and the color blue is associated with boys. experts interviews 4.3.3.5)

LIGHTING CHARACTER: LIGHTING TABLE: A strong advantage that light has is its ability - Lighting fixtures/ color filters/ blue light bulbs - Static lighting installation to create an immediate and easy to achieve - Temporary color change impact. Most people have access to a light - Blue color - global symbol for Autism disorder source which makes participation easy. They can use a blue bulb or using blue filters to make READ MORE: a temporary visual effect. 1. Official website for LIUB, https://www.autismspeaks.org/liub/how- “Autism Speaks” in collaboration with Rosco to-liub company (Rosco company specializes in light- 2. Light it up Blue, song, VIDEO: https://www.youtube.com/ Fig. 92: Screenshot from ROSCO website ing color filters) have selected specific color fil- watch?v=SaZi04TMn5Q&t=1s ters and they are providing easy instructions for 3. Light It Up Blue 2015 Highlights (Full Video) | Autism Speaks https://www.youtube.com/watch?v=Njg2ddggyTI the lighting installation. 4. ROSCO FOR LIUB: http://emea.rosco.com/en/light-it-up-blue 55 4.2.6 It is an initiative to encourage individuals, busi- nesses and governments around the world to TURN UP THE DARK take accountability for their ecological foot- print and engage in dialogue and resource ex- change that provides real solutions to our envi- Earth Hour, worldwide ronmental challenges campaign In 2007, the Earth Hour came as the inspiration LOCATION & CONTEXT: to rally people to the reality of climate change Earth Hour, organizing by WWF (World Wide Fund and start a dialogue about what we as individu- for Nature), is the world’s biggest environmental als can do to help address the planet’s biggest event. It is a global grassroots movement uniting environmental challenge. people to take action on climate change and pro- Fig. 93: Earth Hour tect the planet. Engaging a massive mainstream Earth Hour is not about how much energy is community, Earth Hour was famously started as a saved during the hour, but about putting the light out event in Sydney, Australia in 2007. Since spotlight on the issues facing the planet and in- then, it has grown to engage millions of supporters spiring people to live more sustainably. in more than 170 countries and territories, inspiring individuals and organizations worldwide to take “It’s not about sitting in the dark for an hour,” climate action. As the movement grows, the one- WWF says. hour lights out event continues to be the symbol of a broader commitment toward the planet. MASSIVE MEDIA & SOCIAL MEDIA The global coordination of the earth hour ac- TIME: DURATION OF THE PROJECT: tion is largely united by an online portal, www. It started in Sydney at 2007. Since then, it is held ev- earthhour.org, that connects and encourag- ery year, toward the end of March. It lasts for one es participation in the “lights out” campaign, Fig. 94: Earth Hour Berlin 2015 hour which takes the name “EARTH HOUR”. Earth which includes iconic global landmarks such Hour 2017 marked ten years since the first time. as the Empire State Building, Eiffel Tower, Par- thenon and more. It also drives longer-term, re- MESSAGE & MEANING: al-life initiatives beyond this main annual event. Individuals, communities and businesses are mak- ing a commitment to turn their lights off for an hour As skylines darken, people will be invited to take at 8:30 p.m. on Saturday 25 March in acknowl- a stand for climate action on their Facebook edgement of an act they will undertake for the timelines through the Donate Your Feed plat- benefit of the planet. We hope that these individ- form. Supporters can also share their commit- uals, communities and businesses will take action ment to the planet by donating five Facebook beyond the hour through Earth Hour, WWF and/or posts on their timeline to Earth Hour on www. other environmental organizations and initiatives. earthhour.org/climateaction. It is a symbolic action showing commitment to the Fig. 95: Earth Hour - The Eiffel Tower, Paris planet that exceeds the one hour. 56 CASE STUDY If you’re taking part in Earth Hour, you can add your In the words of Vanessa LimSingh, Digital En- name to the official website to tell the world, and gagement Specialist for WWF, “Social media is view on the map what other people are doing. key for Earth Hour, as it’s the fastest and most effective way to reach new audiences, with By engaging the users with social media either by the help of our supporters. Every post, every using the hashtag #changeclimatechange either hashtag and every tweet, helps us spread- by sharing images on their Facebook timelines, it ing the #ChangeClimateChange movement has been able to create a sense of community to every corner in the world.”(https://www. around the event. With the online campaign, it en- socialbakers.com/blog/2677-how-the-earth- courages people to fight against climate change hour-social-campaign-made-a-real-impact) through the year.

Fig. 96: Earth Hour Alice More O’Ferrall- WWF’s digital engagement LIGHTING CHARACTER: manager, spoke at Socialbaker’s Engage Prague NO LIGHT: event in 2017, on how the organization uses social Earth Hour only asks people to turn off the media to motivate users and help drive change. non-essential lights for one hour - not lights (https://econsultancy.com/blog/69105-three-so- that affect public safety. Earth Hour is also a cial-media-lessons-from-wwf-s-earth-hour) celebration of the planet, so It is important to enjoy the moment in a safe environment. They built trust by allowing users to add comments and opinions on their official WWF Facebook page. The message would come across more authentic LIGHTING TABLE: and trustworthy to friends, family and fellow Face- - SWITCH OFF THE LIGHTS book users than if it came from the WWF or Earth - Darkness Hour official page. As O’Ferrall said, that is an ex- - NO Energy Fig. 97: Social Media, Branded Facebook ample of a brand turning everyday consumers into Frame EARTH HOUR - Symbolic turn off light micro influencers. Another very important goal is -’blackout’ event to engage and interact with participants, showing them that they are valued and appreciated. READ MORE: 1. Official website, https://www.earthhour.org/ In Fig. 97, Earth Hour created a branded Facebook earthhour-faqs 2. WWF website, https://www.worldwildlife.org/ frame to spread the word, and the post announc- pages/earth-hour ing its release was their top-performer, receiving 3. Earth Hour 2017: Ten Years of Impact VIDEO, more than 65,500 interactions! https://www.youtube.com/watch?v=CZp4LX- 4AYnM One of the most impressive symbols of Earth Hour 4. Social Media Strategy: https://www.social- bakers.com/blog/2677-how-the-earth-hour-so- action is famous landmarks and monuments going cial-campaign-made-a-real-impact dark. Unsurprisingly, these types of posts garnered Fig. 98: La Sagrada Familia, Barcelona Earth Hour the most amount of interactions on Instagram, with India’s Lotus Temple receiving more than 1.400. 57 4.3 Experts Interview

The selection of the A,B group experts was made based on specific criteria related to their profes- sional background, years of experience, relevant projects undertaken by them and their availabili- ty for the specific time frame of my project.

The length of the interviews varied from 10 to 40 minutes. The majority of the interviews were held on skype, some were held in-person and three where the expert interview has responded on the questions via email. All the interviews were recorded for the author to process information for the research. All participants were asked for A B C approval of the conversation recording and POLITICIANS LIGHTING were invited providing a headshot and a short PROJECT SOCIAL DESIGNERS CREATORS biography. ACTIVISTS

Some interviews were held in Greek and the questionnaires have been translated in English as well as the summary interviews. The interview Fig. 99: Experts interview groups, graph partners have very different backgrounds. With- in these three groups, there are individual and similar questions, in order to be able to compare 4.3.1 - A: Politicians, Social activists answers in the discussion part and write some 1. Nikos Charalambides/ Greenpeace Greece conclusions. The questionnaire scripts are pre- 2. Emilios Vougiouklakis & 3. Marios P. Tsakas / Municipality of Glyfada sented in the last chapter, appendix 9.1 and 9.2. 4. the Illuminator In total, the interviewed persons are 12 and their 4.3.2 - B: Lighting Designers input was very important for the process of this 5. Leni Schwendinger research. 6. Dr. Elettra Samira Bordonaro & 7. Dr. Don Slater 4.3.3 - C: Projects Creators In the last group, the interviews are presented in 8. Charles G. Stone II two different formats. The first one is an interview summary format for the interview conversations 9. Light Collective through skype or face to face and the other 10. Clare Lewis group is a questions-answers format for the writ- 11. Oceanic Preservation Society ten interviews. 12. Autism Speaks

58 CASE STUDY

A A A A

Nikos Charalambides Emilios Vougiouklakis Marios P. Tsakas, PhD The Illuminator Director Greenpeace Greece Deputy Mayor of Urban Development, Secretary General, Art-activist collective, Municipality of Glyfada Municipality of Glyfada New York, USA

B B C B

Leni Schwendinger Dr. Elettra Samira Bordonaro Dr. Don Slater Charles G. Stone II Lighting Designer, Light Artist, Lighting Designer/ Light Follows Professor LSE department of Lighting Designer/ President at Fisher Creative Director NightSeeing™ Behaviour Co-founder Sociology/ Configuring Light , UK Marantz Stone (FMS), USA

C C C C

Oceanic Preservation Society, Sharon Stammers Clare Lewis Autism Speaks Creative Director, Community Light A team of passionate artists, activists The Autism Speaks is the world’s largest Light Collective, UK project and Documentary, Australia and change agents commited to autism advocacy organization, a non-gov- sustainability and preservation of our ernmental organization oceans & planet, USA 59

4.3.1 A A: Politicians, Social activists

The first group is people who are not linked Fig. 100 with light. They are not lighting designers or Nikos Charalambides light artists, but they are able to provide in- Director Greenpeace Greece formation and knowledge about social and political engagement. There are two politi- Born in Athens. Studied Physics in the University of Athens. Post graduate studies (MSc) in the Univer- cians, one social activist, director of NGO, sity Pierre et Marie Currie (Paris VI) in France on Meteorology-Oceanology. Post graduate studies (MSc) in the University of Athens in General Oceanography. Greenpeace(Greek department) and a representative member of the Art-activist Since 1985 actively involved in environmental protection, mainly through grass root organizations. collective, the illuminator. Joined Greenpeace in 1992 as ocean ecology campaigner. In 1998 he became coordinator of the campaigns department. Since 2002 he is the Executive Director of Greenpeace in Greece. These are the people who can share their methodology on how to inspire a group Actively following the debate on energy-climate change for more than 10 years, focusing on solu- of people to take action, how to create tions work (increase renewable energy production and energy efficiency). Also working in the awareness for a social issue by using the direction of Green Development, focusing on the need to find solutions that will get us out of the existing mediums, and sometimes by using dual crisis (climate and financial) while showcasing concrete examples. light projections. Active in promoting change both in legislation, consumption habits and production in Greece and globally. Leading an international team that is trying to identify opportunities in crises and promote Goals: systemic change for a more fair and equal world. More recent focus is on identifying common - Knowledge about social and political en- grounds and synergies between humanitarian and environmental challenges. gagement - Methodology for motivating people to act He has been - Existing mediums of social engagement -Board member of the National Center of Environment and Sustainable Development. - Their opinion about light as a medium for -Member of the National Committee for Energy Planning. communication medium in the urban space -Board Member of the National Organization for Recycling. -Board member of the Climate Action Network – Europe. -Member of the International Union for the Conservation of Nature (IUCN) - Species Survival Commission. -Member of the Leadership Council of the Sustainable Solutions Network Greece.

Writer of several books and numerous articles on environmental protection, the role of civil society and NGOs, climate change, corporate responsibility, green development and sustainability.

60 CASE STUDY Interview summary: In addition, talking about the levels of success of an action. It was crucial to understand the two reasons behind an activist action. Some actions The nongovernmental international environ- will have the goal to stop, reduce or change a mental organization Greenpeace, was found- specific situation. The success of this action will ed in 1971 in Vancouver, Canada and it acts be measurable depending on the reduction of to protect and conserve the environment and the problem etc. Another reason is to highlight to promote peace. Its campaigns are coordi- a situation that tends to be hidden. The goal is nated at the international level and carried out to make a “buzz”, a term used in viral market- autonomously by the national offices. Green- ing—is the interaction of consumers and users of peace before realizing an activist action, they a product or service which amplifies or alters the do a scientific research, contact the responsi- original marketing message. The success will be Fig. 101: Greenpeace projection in Rhodos, Greece ble organizations to inform them about their re- that politicians, media and individuals will talk for quests and then they take action. this issue. A public conversation will start. As Mr. Charalambides mentioned, every Greenpeace In my question about difficulties that they have action has a goal. The actions do not happen for faced during their actions, Mr. Charalambides the final event photograph. As he said, a good said that people do resist in changes even photograph, image etc. will be the “vehicle” that though their current situation is harmful for them will transfer the message of the action worldwide. and the environment. He also mentioned their difficulty to prove their actual intentions in the The next topic of our conversation was about era of fake news, when directors distort Green- the power of massive media and the way that peace incentives to the employees and public. Greenpeace communicates worldwide messag- What matters is to make conversations which es. Mr. Charalambides said that it is never certain demonstrate the advantages and disadvan- that the media will follow and share an action. Fig. 102: Greenpeace projection in Acropolis,1997 tages of a situation as well as, present which It depends on the quality of the image and the should be the transition process of a city that will context of the period. What is meant by that is, need to stop living out of oil extraction, during that if the media is talking for war and Green- the global warming and climate change. peace uses a banner and stands up against the war, this will not make any impact because the Moreover, a next question was about the char- reality is much stronger than this message. They acteristics that an action must have in order to will be “irrelevant” and out of the context. For inspire people to engage. Mr. Charalambides Greenpeace, the media has played a vital role said that the key in their actions which will create since the beginning. A very interesting fact is that a community feeling is on the way that Green- there is a change on the way that the media is peace is establishing the point of relevance responding to their actions compared with some with the community. Nowadays, they are con- years ago. When some media, started to be con- nected with local organizations and they are trolled and directed by economic benefits, pet- Fig. 103: Projection onto Coal Power Plant acting worldwide. Their input is global and their rol etc., Greenpeace actions started to be less Neurath in Germany purpose to inspire people with different cultures welcome both in Greece and internationally. and social circumstances. 61 Fig. xxx: May 2017, Greenpeace protest Eiffel Tower. Photo credits: Global news, Retrieved from https://globalnews.ca/news/3429184/green- peace-eiffel-tower-french-vote/

This gap was covered by the social media. “In happening for a global audience. The actions are social media you are free to communicate and not aiming only to the people who will be physi- share messages although you are alone in an cally there. They are aiming to the general and ocean of information” he said. Firstly, you must bigger public who has proven that is interested in build your audience and inspire them to follow following and be informed. you and participate on what the organization is doing. Also, another benefit of social media The next question was a comparison between the is that as a medium, they give to the public the light as a medium and the other existing mediums possibility to take part virtually in real time in , like posters, banners etc. Could we claim which global actions. For example, they did a physical one creates a more powerful impact? protesting action in front of a milk factory that Mr. Charalambides opinion was that light creates was using prohibited foods for their animals and a more powerful incentive compared to the other at the same time, thousands of people were mediums considering the environmental context. Fig. 104: May 2017, Greenpeace protest Eiffel Tower physically calling the company and protest on For example, in Times Square, Piccadilly square their way. As he said, this situation gives you a and Tokyo, people are used to the brightness of completely different legitimacy. light 24/7, so maybe a social environmental mes- sage with light, might not create attraction and The next chapter of our conversation was re- impactful engagement. As he said, every medi- lated to light. Greenpeace has used light as a um is used for a different reason. For example, if medium to protest both in Greece and world- we compare light with paint and graffiti, we must wide and I was very interested in understanding highlight, that light creates a temporary change what the core idea behind the use of it is. Mr. and communicates a message which will make Charalambides argues that light is the opposite pressure to the responsible to take action imme- of darkness and both are complementing each diately. On the other hand, a huge graffiti (use other. There is a symbolism that “Light breaks of paint) will be visible from far away and will Fig. 105: Greenpeace exposes the true cost of coal the darkness” and transfers a “bright” message stay there for a long time, even forever. It will be at Cilacap coal plant on Central Java’s south coast. both literally and metaphorically even if this there to remind the importance of the message message is using as a canvas, a nuclear reac- that communicates every day. “Light gives much tor. Moreover, a very important benefit of light more possibilities to interfere without interfering” is the element of surprise. It gives you the possi- he said. Greenpeace, is using banners often and bility to show up in places that are very difficult the biggest difficulty that they have is where to to reach because of security levels. For exam- display it, how to make it stable, how to make it ple, a nuclear reactor, the White House, a pal- more visible etc. ace or any other “important” secured building. As he mentioned, if you are well prepared and In the last question about the future and the pos- the message powerful enough, it might “travel” sibilities of light, Mr. Charalambides emphasizes worldwide through the media and from a local that as far we will have darkness in the environ- action it will be transformed into an action with ment, light will be able to create an impact de- global audience. One of the characteristics of pending on the level of creativity and the way Fig. 106: Greenpeace. Stopping the Russian ship Greenpeace actions is that all the actions are that will be enhancing more the participation and Mumrinskiy from unloading a potentially illegal cod shipment 62 social engagement in the urban space. CASE STUDY

A

Fig. 108

Fig. 107 Fig. 109 Emilios Vougiouklakis Marios P. Tsakas, PhD Deputy Mayor of Urban Develop- Secretary General, ment, Municipality of Glyfada Municipality of Glyfada

Emilios Ant. Vougiouklakis, is a 34 Dr Marios Tsakas lives in Athens. He owns a Bache- years old journalist. He graduated lor degree in Chemistry, a MSc title in the area of from the School of Philosophy of the environmental sciences and a Ph.D title in the field University of Athens where he re- of Management and Business Administration. ceived specialization in History. He has participated in many scientif- He has worked as a researcher at the University ic conferences and has produced of Athens (environmental laboratory of Chemis- and published four academic pa- try Department) (2002-2004), as a advisor to the pers. Greek Minister of Economy and Finance (2004- 2008), after this term as a Special Secretary at the During his student years he was Special Investigation Service (2008 – 2009), where elected President of the Students’ he served the Greek Government in the combat Association of the Athens School against tax evasion and smuggling. of Philosophy, a representative at the Senate of the University of Ath- Hιs next occupation was related to management ens and a member of the Board of consulting at private enterprises and public institu- Directors of the National Student tions (2009-2014). From 2014 till now, he is the Sec- Union of Greece and is a member retary General of Municipality of Glyfada, Attica, of the Arcadian Academy. Greece. His academic work includes part time He speaks English and French. teaching in the National and Kapodestrian Univer- sity of Athens as well as the publication of two sci- Today, he is the Deputy Mayor of entific books and many research scientific papers Ubran Development in the Munici- in the field of management and environment. pality of Glyfada in Greece.

63 Interview summary: in global events, such as the earth hour by WWF and the breast cancer awareness day in collabo- ration with a Non-governmental organization. Mr. Mr. Vougiouklakis and Mr. Tsakas contributed Tsakas highlighted the importance of collaborations with very useful information about the Munici- between the “Specialists” and the Municipality. For pality of Glyfada in our interviews. The first sub- example, this year, they collaborated with an asso- ject of our conversation was about the variety ciation who organized a breast cancer awareness of the events that they have been organizing day event accompanied with a basketball event, and the goals that they set for the community. where they light up pink the basketball building. The municipality, provided the place and supported There is a wide variety of events, with main cate- them in the communication and organization of the gories, social, entertainment and sports events. event. As Mr. Vougiouklakis said, it is very important as Fig. 110: New playground in Glyfada City, Greece organizers, to know about the social context of By mentioning the term communication, we moved the city, in order to set the goals of the events to the next chapter of the discussion which was and understand what is beneficial for the citi- about the power of massive media in order to zens. Nowadays, during the financial crisis, there make impactful communication, the technological are at least 1200 people in the city who are not change, the internet and social media. Nowadays, able to cover their basic needs. For that reason, the importance of media has changed dramati- most of the Municipality actions are aimed to cally. The Social media are playing a principal role gather food and medicines with the support of in the communication and advertisement of local the citizens, who participate in all free events, events. As Mr. Tsakas said, the development of so- concerts etc. There are many actions like an cial media for a Municipality, needs a structured annual event for olive collection, in which they methodology. The citizens must feel the “personal” gather olives, they produce oil and they pro- level of interaction between them, the events and vide it to the poor families or the annual concert Fig. 111: Collect Olives event, Glyfada City, Greece the municipality in order to follow daily all the ac- entertainment program where they participate tions and news of their city. On that point, is essential in a quality music event by donating food and to mention a significant difference of the social me- medicines. As Mr. Tsakas said, people need to dia and the other massive mediums, like the televi- feel entertained under a good aesthetic envi- sion, radio, newspapers. The last three, (television, ronment and is very important for the Munici- radio, newspapers) most probably, will share and pality to focus on the aesthetic aspect of their communicate the final result of those local events. If events and public actions, except of their orga- they believe it is worth to share them, they will write nization and safety. If we can set some charac- articles, visit and cover visually the events. On the teristics for a successful social engaging action, other side, the social media, the local press, posters would be the content with a message, the com- and other mediums, will communicate the events munication mediums, the aesthetic and quality on a first level and advertise them in the city. So, aspect. Through their actions, they aim to the we could say that the social media and other medi- creation of a “community feeling and moment ums, will communicate the local events and affect Fig. 112: Summer concert 2017 Glyfada City, Greece of union and togetherness. Glyfada Municipality the number of participants, while most of the times, except of the local events, participates also television, radio etc., will present the result. 64 CASE STUDY Many years ago, municipalities were using differ- specific perspective. Although the freedom ent ways to communicate their local events. First- of speech and the ability to share information ly, they were using cars with speakers which were freely worldwide are very positive, we should communicating verbally the message driving mention the other side of the coin. It is very easy around the city and inviting the public to attend to read fake news and information that on first in the event. This medium is not used anymore. level are accurate and in a deeper analysis are Moreover, before the social media period, they trying to manipulate the public opinion. For that used to share an event in the local press by writ- reason, it is important to be very critical with the ing a short presentation and placing posters and information that we read online. big banners in key points of the city. Today, as Mr. Tsakas mentioned, they are mostly using the social By covering the social engagement and com- media and few posters and banners in key points munication theory, we continued to a next top- Fig. 113: Summer concert 2017 Glyfada City, Greece for the elder people, who are not social media ic, which is related with the light in the urban fans. Other mediums are massive emails, SMS and space and the political conversation between use of electronic boards in the city (bus stops, city the Municipality and the citizens, which can be hall etc.) supported by the light. Both, chose to start the topic by using the example of the Christmas Furthermore, as Mr. Vougiouklakis said, we are decorations. This year, the Municipality decided living in a period where the information is com- to use more Christmas lights than ever and dec- municated very fast and it reaches an enormous orate, streets, squares, public buildings and ma- amount of people. The revolution of internet and rines. I was very positively surprised, when they the evolution of social media support the spread told me that light creates a special festive feel- of information from a local to a wider extent. ing and make people happier and that is the reason why they focused on the decorations Fig. 114: Food and Medicine concentration for needy Since Mr. Vougiouklakis is journalist in his profes- this year. As Mr. Vougiouklakis said, light stimu- families, municipality of Glyfada, sion, we focused more in the communication and lates our brain and vision is one of the strongest the way that media selects to spread news and senses that we have. events. As he said, every medium, is using differ- In addition, Mr. Vougiouklakis said that since ent way to inform, describe and share the infor- light is a strong stimulator, he agrees that it is a mation. Some can focus on a specific perspective very useful medium that creates social engage- and highlight one side of the event. They can fo- ment, enhances communication in the urban cus on positive or negative aspects and in general space and creates awareness for socio-politi- they can follow specific directions depending on cal, environmental and health issues as well as their political orientations, background etc. How- strengthen branding and visual identity of a city. ever, the internet gives the possibility to people to search a subject in depth and read different opin- Cities all over the world, are using light as a ions from different perspectives. It is very important communication medium in order to express to mention the power that an individual had. A happiness, commemoration, compassion and Fig. 115: Summer concert 2017 Glyfada City, Greece person can take a picture of an event, and share solidarity among others. Glyfada Municipality, it online on the Social Media, by capturing the follows this global strategy and celebrates the “truth” without filtering it or presenting it, from a Greek National days by illuminating the city, 65 takes part in the Earth hour where they are hours that a lighting installation will be on from switching off the lights (that are not necessary individuals. For example, if an individual wants to for the safety of the citizens), for an hour to raise highlight his private house by using projections awareness for sustainability and the planet. Also, or other lighting mediums and make an extreme as it was mentioned before, they are taking part lighting which will disturb the neighbors, should in awareness events for health issues, like the not be appropriate. The Municipality should con- breast cancer, and their general strategy is to trol exaggerations. use light by considering the environment and the safety. As Mr. Vougiouklakis mentioned that new regula- tions are created when a situation exceeds the In all their actions, the feedback that they re- limits. Moreover, I was wondering for Mr. Tsakas ceive from the citizens plays a significant role in opinion if we, a NGO, a group of people, or a their future events! Mr. Tsakas mentioned that citizen, would use light against the Municipality´s Fig. 116: Summer concert 2017 Glyfada City, Greece there was a specific event which is called “Red action, if this should be illegal or not. Mr. Tsakas Night”, the first year in 2015, it happened during said that everybody has the right to express his nighttime, while last year in 2016 at daytime. It opinion with actions that respect the city and was an obvious difference for people. They en- the other citizens. That means that is not legal to joyed and appreciated more the celebrations make a graffiti on a building, or destroy a street that happened at nighttime. Therefore, there is etc. Light is a medium that does not create any a bigger and more positive impact when a fes- permanent damage and for that reason the tive event is happening at night. message should be free.

The importance of landmarks for a city, was an- In the last question, if we could consider light as other interesting topic. Mr. Vougiouklakis men- an impactful medium of communication of the tioned that a public building is defined by two future, Mr. Vougiouklakis said that light is a field parameters. The first one is the amount of peo- that is growing rapidly. From using light for our Fig. 117: Christmas lighting decorations City Hall 2017 ple who are using it and the second is about the basic needs, now there is a new dimension, it is Glyfada City, Greece history context and the symbolism for the city. In a tool of advertisement, of communication, of Glyfada there is a historical building of the first messages broadcasting. In the end, we com- City Hall of the city. When they want to commu- pared the existing printed mediums of communi- nicate a special message, this is the first building cation, banners and posters with the use of light that they highlight, as well as the new City Hall projections, leizers etc. in the urban space. which is presented in fig. 117. Light is more sustainable, environmental friendly, economical, more impressive, more attractive, The following question was related to the regu- changeable and flexible. It can change many lations that we might need for the use of light in colors, sizes, shapes very fast, it doesn’t move the urban space, as a communication medium. and it cannot be destroyed because of the air, rain or other climate conditions. Finally, with the As Mr. Tsakas said, thinking about an extreme sit- new technologies, light can be powerful and visi- uation, it would be appropriate to set some reg- Fig. 118: Christmas lighting decorations 2017 Glyfada ble even in the morning compared to the posters City, Greece ulations related to the aesthetics, the time and that are visible only during daytime. 66 CASE STUDY Interview summary: A We started our conversation by analyzing the “ Visual aids” project which is included in the case studies catalog. We talked about what do we want people to have access his- torically in the public space. All over the world, there are many statues in the public space that are expressing the his- tory of the country. The majority of them are about white men in the Western Europe, war moments, dead heroes, vic- tories, etc. With this project, the illuminator wanted to high- Fig. 119 light our history as human beings, focusing on a decease that the government is embarrassed to talk about, the HIV. The Illuminator We should never forget the way that people are informed, Art-activist collective, organized and how they respond to AIDS. It is about true New York, USA humanism and true political progression.

In November 17, 2011 the illuminator group, had its first pro- The Illuminator is an art-activist collective com- jection in the “Verizon building” in New York. prised of visual artists, educators, filmmakers, It was in a way a “cheerleading exercise” with more than and technologists living and working in New York City. 30.000 occupiers. You must always know who is your audi- ence. Every projection has a different audience and goal. The collective has staged hundreds of projec- Nowadays, they are doing projections that is very often not tion-interventions in public spaces, transforming to have a big audience. For example, when they are pro- the street from a space of passive consumption jecting in the middle of Manhattan where 10.000 people and transit into a site of engagement, conflict, will be walking around, it may happen that only 10 will stop and dialogue. Our work calls attention to the and look up to the building reading the projected message. many urgent crises that confront us, in support of the ongoing struggle for a more just, peace- Generally, people are looking at their phones and walking ful and sustainable world. to their destination. Here, we should point out a very import- ant issue. The first level of how people will get attracted.They More information: http://theilluminator.org/actions/ must be able to see something different. The contrast is a very important aspect. In Manhattan for example, there are many other lighting sources, therefore, it is a huge competi- tion of brightness. For that reason, people might not see the projections on the buildings. Light projections can be very impactful under a specific context related to the surround- ing lighting environment.

67 Another very interesting point is about It is the place where they are sharing and pro- how illegal is to project light in the urban moting what they are doing, presenting the space. On the 9th of September 2014, they politics behind the projections. Sometimes, the were arrested, stayed in jail for a night and media will write articles about them and share the police abducted their projector for 2 photos, videos from the projections. Basically, months. Because of this action, the press the group is responsible to share the actions and wrote about it and the illuminator group spread them all over the world. In the Internet, become well known. In Los Angeles, there is the larger audience. “Most people that have are regulations and laws that restrict vid- seen our work, haven’t seen it on the screens eo projections, because the whole visual but in the Internet”. space would be occupied by advertisers. On that way, they are protecting the pub- Ι was very curious to know the core idea of using Fig. 120: OWS BAT SIGNAL lic. In New York they don’t have specific light as a medium to protest. Somebody from laws for lighting, but there are laws that the team, wanted to have a “bat symbol” a forbid wheat pasting (adhering paper symbol we all understand to be a call for aid posters and notices to walls). and an outlaw call to arms. Of course, Batman is When they got arrested, the charge was actually a quasi-sociopathic millionaire vigilan- for illegal advertisement. The judge dis- te, a one-percenter you might say. But by occu- missed the charges because he said that pying that symbol with their own content “99%” they didn’t permanently attach some- they make it appropriate for the rest of “us”. In thing on the building and they didn’t do it this reconfiguration, we are no longer waiting for getting financial benefits. for some superhero, be it a masked vigilante or the first black president, to swoop in and save From a political perspective: The lan- the day. Rather, we are the response to our own Fig. 121: The Illuminator projected “Koch = Climate Chaos” guage that the law is using says: “don’t call for aid and that is the reason why they are on the façade of the Metropolitan Museum of Art permanently damage the structure” but projecting their bat symbol as 99 % . what they actually mean is “Don’t put the image into the public imagination”. Tech- Moreover, we discussed the practicality that nically it is ok by the law to use light right light has. It needs only a surface - a canvas-, a now, but it can communicate messages level of darkness and a projector. We can say that a Municipality might want to hide. that is an “easy” and portable medium to use wherever the group goes. The last point was Talking for the importance of the massive me- about the importance of surprise on an event, in dia like the internet, the social media plat- the urban space. In general, it is difficult to sur- forms etc., is very interesting to mention prise people these days, but when you succeed that the social media that the illuminator it, you definitely create a strong impact. have built are very important for their ac- Fig. 122: The Illuminator van with one of its projections tions.

68 CASE STUDY

4.3.2 B B:Lighting Designers

In Category B, the interviewed experts are people who are working with light, art, activ- ism and social interaction in the urban space.

Goals: - Knowledge about the key lighting char- Fig. 123 acteristics for outdoor installations Leni Schwendinger Lighting Designer, Light Artist, - Understand how to create social engage- Creative Director NightSeeing™ ment by using light in the urban space. - Define symbolisms, colors and time Leni Schwendinger, most recently Arup’s global urban lighting leader, is a rec- ognized authority on the many issues and applications of city lighting with more - Talk about light as a medium than 20 years of experience creating illuminated environments for public spaces - Surprise effect in lighting installations all over the world.

Her innovative interdisciplinary practice, nighttime design urbanism, focuses city districts’ darkened hours and includes fresh community involvement methodol- ogies. This work is shared through Leni’s public speaking engagements, includ- ing the worldwide “NightSeeing™, Navigate Your Luminous City” program, most recently in Prague, Czech Republic, Sydney Australia, Seattle Washington (USA) and Bogota, Colombia. Recent and ongoing projects include the Enhanced De- sign Initiative for the New York City subway, several bridges in Canada, and art projects for the Cleveland Rapid Transit District, among others.

Professional awards include such recognition as multiple Lumens from the Illu- minating Engineering Society, SEGD and the NEA Japan Residency Fellowship. Schwendinger has enjoyed extensive coverage in design press and media, in- cluding videos produced by Monocle, Architectural Lighting, Architectural Digest and Dwell magazines. She is currently a Design Trust for Public Space Fellow and served as Distinguished Visiting Professor in residence at the Portland State Univer- sity (USA) Department of Architecture.

Most importantly, Leni is currently directing a startup, Nighttime Design Research Institute, to establish an after-dark, design-focused, profession. More information: https://lenischwendinger.com/ and here, http://www.nightseeing.net/.

Fig. 124 69 Interview summary: If you are a public artist, you might want to reach different demographics. The goal is to create strong impact on different people of different age, on dif- A very crucial point for the communication ferent ways etc. As lighting designers, we can see a and graphics of a project, was about ab- project as a canvas, in which we can apply dynam- stract and literal representations. In the proj- ics, colors, shapes. ects category chapter (4.1), there is a wide range of projects where communication oc- In her project in Seattle, people are immersed in the curs on many levels. Some are using abstrac- color light. A kind of magical, theatrical, illuminat- tion to transmit a message while others are ed, colorful painting in three dimensions. It is made more literal with text, photographs, videos up of a number of melodies for the eyes. These are etc. Schwendinger in her projects, works in compositions like music, with the panels acting as local events with colors in an abstract con- instruments and color over time. It’s a sequence of Fig. 125: Triple Bridge Gateway ceptual level that it also requires some ed- primary colors of light that are red, green, blue. Red ucational messages through the press, the and green make yellow on the light primaries and media or hand out information. is another sequence that is based in Northern lights.

Color symbolism is very important in public Dreaming in Color uses electronically programmed events, in the urban space. There are many color sequences to animate an illuminated col- levels of authorities that are responsible for or-field composed of a series of metal-mesh scrims the execution of an event. There are the Mu- mounted across the wide walkway between Mc- nicipalities, sponsors, designers etc. who are Caw Hall and Phelps Center. The lightwork serves to not concerned about the cultural associa- dissolve traditional boundaries between inside and tions and color symbolism theory. Most of the outside. The illuminations transform the Promenade times, they pick the most obvious colors and at night, welcoming visitors into a theatrical environ- Fig. 126: Port of San Diego they “educate” the public that these are the ment. People are walking bellow the composition only colors to be used in the urban space. and a pedestrian said “ I feel like breathing in color”. It is an environmental light sculpture that as commu- Colors except of culture, has to do with age nication is not using a literal way of a text or graph- and profession. A mix of dynamics is the key ics, but it transmits a message of inclusion. for using color in the urban space. In her proj- ect “Dreaming in Color”, a public lighting artwork for Seattle Center’s McCaw Hall op- In many seminars and presentations, Schwending- era house and theater, dynamic movement er has discussed how can public agencies (utilities, animation and variety of changeable colors public planning) can judge a colorful light project? play an important role. What should be the criteria?

As Schwendinger said, “the fantastic, flex- We should set specific criteria about the use of color. ible, magical art form that light is, is that it For example, the use of color when it is meaningful does change”. and communicative. On that way, color light is very Fig. 127: Dreaming in Color useful. 70 CASE STUDY The next subject of the conversation was In one of her projects, Chroma streams: Tide and about the importance of landmarks and fa- Traffic in Glasgow, the abstract color implementa- mous buildings and how they communicate tion communicates a message to the public. a message. She had used warm colors for the cars and cool colors for the river. On that way the river was con- Does it need to be a recognized landmark nected with the bridge. There were142 color possi- to get the message across or can it be any bilities, depending on the traffic and the movement ordinary building? of the river.

By using the example of #welivehere proj- The last subject of our discussion was about how ect (chapter 4.2.1) and by presenting “The people are linking light as a symbol in the urban breathing lights” project, an installation space. By using as an example, the selected proj- Fig. 128: Breathing Lights project New York, where they have literally shed light on an ect, “Tribute in Light” (chapter 4.2.2), we discussed awful problem—abandoned and collapsing some characteristics of the project from her per- buildings in poor neighborhoods (fig. 128), spective. There is a whole political context on the she concluded that it is not necessary to use way how the country changed and became very a landmark and that if we combine some- “surveillant” oriented after the 9/11. For her is a kind thing that is rather abstract with the message of symbol of their inability to connect with other in different terms, like social media, lighting people and xenophobia. hang out, light education on the press, social It’s hard to separate it from what happened in their media, perhaps we can talk for a new model country. Intending to separate it and trying to discuss that is also effective. some characteristics of the project, Schwendinger said that it’s very popular, it’s powerful when there Also, it is crucial to collaborate with local are particles in the air and works well. Moreover, it Fig. 129: Chroma Streams; Tide and Traffic communities and educate them for the im- is a massive energy consumption. There are a lot portance of lighting strategies. Then, bringing of contradictions, but it is a highly recognizable a community of people, stakeholders, into a lighting installation. The symbol works really well. Al- project is quite important whether we see it though, she thought that if it would be possible to all over the world like the Empire State Build- create darkness, she would have used two streams ing or rather we see it locally. It’s equally im- of darkness. Another characteristic that the instal- portant or even more important because it is lation has is that it is annual and when things are spreading the know-how and the possibilities repeated, they create a feeling of anticipation. So, of using light as a message in the local com- to conclude, it becomes even more successful and munity. impactful, as a symbol, because of the repetition.

Fig. 130: Kingston Bridge,Glasgow, Scotland, Chroma It is important to connect the use of landmark “The ephemeral creates the permanent. A series of Streams; Tide and Traffic. with advertisement. Is there a hard line be- actions, repetition, for good and bad, is powerful tween advertisement and the communica- based on the Japanese culture.” tion of messages for awareness for socio-po- litical, environmental and health issues? 71

B

Fig. 131 Fig. 132

Dr. Elettra Samira Bordonaro Dr. Don Slater Lighting Designer/ Light Follows Be- Professor LSE department of haviour Co-founder Sociology/ Configuring Light , UK Awarded a PhD in 2006 at the University of Architecture in Turin Co-Founder and Associate Professor (Reader) in So- with the thesis: Technology and Innovation for Architecture and ciology, Industrial Design concentrated on urban lighting, Elettra has a background as an architect. She has focused her attention on London School of Economics and Political light and worked as a lighting design consultant on masterplans, Science exterior and public realm lighting for major lighting design stu- Dr. Don Slater is a co-founder of Configuring dios such as Light Cibles, Paris, Speirs and Major, Edinburgh and Light/Staging the Social, and Associate Pro- London, Metis Lighting, Milan and Light Bureau, London. She has fessor (Reader) in Sociology at the LSE. His been teaching at the University of Rome, Milan and Turin and current research builds on an extensive re- was in charge of the cultural and educational programs of Light- search and publishing record in the sociology ing Academy, Fondazione Targetti until 2010. of material culture and economic life, new media and digital culture, and visual culture. In 2014 she has been a visiting professor at Rhode Island School Major publications include: New Media, De- of Art and Design for a winter session about “Light, City and velopment and Globalization: Making Con- Community – How to involve people through light”. nections in the Global South (Polity 2013); The She is the founder and creative director at Light Follows Be- Technological Economy (2005, with Andrew haviour, a lighting design studio with the aim to design with peo- Barry); Market Society (2001 with Fran Tonk- ple and for people. iss); The Internet: An Ethnographic Approach (2000, with Daniel Miller); Consumer Culture She is also a co-founder of the Social Light Movement (SLM) to- and Modernity (1997). gether with Erik Olsson, Jöran Linder, Sharon Stammers, Martin Lupton and Isabelle Corten, with aim to bring lighting to less af- More information: http://www.configuringlight.org/ fluent communities. More information: http://lightfollowsbehaviour.com/

Fig. 133 Fig. 134 72 CASE STUDY Interview summary: Some further information about this move- ment: Guerrilla lighting creates ephemeral and magical moments of quality lighting that In June 2015, Dr Elettra Bordonaro joined are recorded and sent to the media and poli- Configuring Light with a 2-year Visiting Re- ticians to instigate action against bad lighting search Fellowship in the LSE Sociology De- (http://www.guerrillalighting.net/) partment. In this interview we discussed about their collaborative projects and As Slater and Bordonaro said, during a work- generally about light. In their projects, they shop where they used the guerrilla lighting are working with the community or local techniques, the neighbors were very excited neighbors and they are engaging them because they saw that really light could trans- into workshops, where they show how light form their space. It gives you a kind of imagi- can change a space and create impact Fig. 135: Workshop Acland Burghley nation that you can change things. Light gives in people’s lives. an instant transformation. It’s magical! “Light is a powerful tool because it is easy in a sense to transform a space in one night.” A very interesting part of our discussion was connected with time. What is the difference Light is easy for the transformation of a between an instant temporary transformation space. With architecture is much more dif- with a long-time or permanent lighting trans- ficult since you must construct a structure formation. I was wondering if the impact is the and that takes time. With light, even if you same to the citizens. As they said, it is about switch off the existing lights of a square, you the “shock” of the moment. It is very import- already have a change. ant to feel and experience how instantly you At a point you need power but sometimes can change something and create a huge you just need batteries, torches and use a impact. It was shocking for the residents to Fig. 136: Workshop Acland Burghley guerilla lighting technique. (Guerrilla Light- light up buildings that were completely dark ing is an open source idea for creating and transform them into brighter and colorful magical moments of quality lighting that spaces. In their workshop’s final presentation, demonstrate the power of light to trans- the feedback that they received was impres- form spaces by using torches, color filters sive. The participants shared their feelings and etc.) impressions and they said that was a magical place, that they like the place as it is with the Guerilla lighting is a provocation, a kind of new lights and they would like to keep the attack. In one specific moment you can installation permanently. Their response was switch on 20 torches and light up a build- that this temporary lighting action was a spe- ing, a square a bridge and create a tem- cial moment and that they shouldn’t live in a porary powerful visual impact. colorful disco environment. Fig. 137: Guerrilla Lighting Donostia 2015- ex- ample for Guerrilla lighting event, 73 Since this project was using color, I wondered Slater said that it is not about the color if color is a fundamental characteristic of a light by itself, it is the symbolism that light temporary installation, in order to create im- gets. For example, everybody knows that pact and make a change. the flag of France is featuring three verti- cal bands colored blue, white, and red. The answer was that it depends on the con- When famous landmarks were lit in French text of the project. In Urban Lightscapes/ flag’s colors, it was a statement of solidar- Social Nightscapes Whitecross lighting work- ity. It is a straight sign that communicates shop, they didn’t use color to create an im- a message about the country. When col- pact. The impact was created with white ored light does not symbolize a meaning, light and the focus of the workshop was to must relate to the context and the envi- ronment. “You must have good reasons to light up a building that was always com- Fig. 138: Whitecross workshop pletely dark. The final result was a new light- use colored light”. ing design intervention to help improve the outdoor spaces on the Whitecross estate The last part of our conversation was and the community came up with sensible about light as information. “Light can car- public lighting ideas, which transformed the ry information to the extent that people lighting of the space temporary. Mr. Slater can understand the different properties of said that people were responding to the fact light. It is much more than the content or that they were designing something aesthet- delivering a message.” For example, if we ic for their area. think light in information terms, we will think As they mentioned, when you already have about “brightness, color, color rendering, a monument that is lit and you want to cre- darkness, sequence etc. A lot of things ate a visual impact, maybe you can use col- are unconscious and it is hard to know the or, in order to do it. We can say that color is a decoding information that a person will Fig. 139: Whitecross Workshop “layer of diversity” but is not fundamental in get or how this information is working in his order to create a visual impact. brain. Maybe a person gets less informa- tion from light compared to another, who Another question was about if we could say understands what light does. The first per- that colored light has an international char- son might be more impressed and have acter. This is a part that is not researched yet “a magical feeling” by watching a light- in depth and the only thing that we can say ing transformation. is that the way that any population will re- A very important point is that “MAGIC” act in a lighting installation depends on their and “INFORMATION” are competing each culture, location and general context. In this other. The less you know is more magic, research, there are projects where color light the more you know is less magic. has been used to create awareness for a ter- Fig. 140: Project Resist rorist attack. 74 4.3.3 C: Projects Creators

The last group is the expert interviews from the 6 selected case studies with main goal to under- 4.3.3.1 stand deeper the projects.

In this category, 5 from the 6 case studies are presented. For the 6th one, there is no presenting interview, because of the multiple online informa- tion.

4.3.3.2 In the last group, the interviews are presented in two different formats. The first one is an interview summary format for the interview conversations through skype or face to face and the other group is a questions-answers format for the writ- ten interviews.

4.3.3.3 4.3.3.1: Tribute in Light, Charles Stone 4.3.3.2: Project Resist, Lighting Collective 4.3.3.3: #Welivehere2017, Clare Lewis 4.3.3.4: Projecting change ESB, OPS 4.3.3.5: Light it up Blue, Autism Speaks

4.3.3.4

4.3.3.5 75

C 4.3.3.1Interview summary: *The following information are based on our discussion with Mr.Stone and do not represent the artists opinion.

After the terrorist attack on the 11th of September, a group of artists asked Paul Marantz and FMS to help realize a lighting installation to commemorate the 9/11. Paul Marantz is a found- ing member of FMS Lighting design. The FMS office has been focusing and supervising the tribute installation annually since Fig. 141 its inception in 2002. Charles G. Stone II Lighting Designer/ President at Fisher It is worth mentioning that after the attack, many people had Marantz Stone (FMS), USA a similar idea to use light and create an installation. On the 23rd of September, the New York Times published various art- An early interest in the theater led to a career in archi- ists’ sketches showing two vertical white lines representing the tectural lighting design, joining FMS in 1983, serving as President since 2003. Charles has designed award-win- twin towers. ning and well-known projects such as Carnegie Hall, the Talking about the symbolism of light, it is pretty obvious to con- Washington Monument, American Museum of Natural nect the two towers and two beams of light. There are many History - Rose Center for Earth and Space, the Hong Kong interesting levels such as memory, the ghost quality, the infinite International Airport, and Smithsonian Institution Nation- aspect that light goes up forever creating a tower, the expres- al Museum of African American History and Culture. Mr. sion as metaphor where light takes form. We can even look at Stone’s Traveling Light speaking tour includes universities the installation as a period of history. On that point, there is a and conferences around the world, visiting 20 countries to date. He serves on the IESNA Lighting for Outdoor Pub- very important connection to mention. From the one side, the lic Spaces Committee, and Project Candle at Penn State cathedral of light or Lichtdom for the Hitler Nazi Party rallies in University. Nuremberg designed by Albert Speer,where the light is a sym- bol of power, evil and from the other side, when you see the EDUCATION: victory Europe 1945 celebrations, the same search lights were Bachelor of Arts, Princeton University used to celebrate victory, freedom and liberty. So all of these Certificate for Lighting Design in the Program in Theatre and Dance, Princeton University can be combined to discuss the various meanings behind the “tribute of light” project. Moreover, from a metaphorical point PROFESSIONAL ASSOCIATIONS: of view, the light signifies the rebuilding of the towers. Illuminating Engineering Society (IES) Designers Lighting Forum (DLFNY) From a technical perspective, they conducted many studies Fellow, International Association of Lighting Designers(FIALD) and tests to make sure that the beam’s inclination and the U.S. Green Building Council (USGBC) general effect would be visible and powerful from a distance. National Council on Qualifications for the Lighting Pro- fessions (LC)

76 More information: http://www.fmsp.com/studio_01.htm CASE STUDY A very important aspect for our discussion was the TIME factor. I was wondering how does the TIME factor af- fect the strength of the commemoration and emotion of the public.

Six months after the attacks, the installation was presented for a week and then on the one year anniverary they turned it on for sev- eral nights. After the first year, the lights remain on for fewer nights; and now, the installation is on every 11th of September. The 11th of Sep- Fig. 142: Tribute in Light installation, World Trade Fig. 145: Tribute in Light installation, New York Center Memorial tember 2017 was the 16th anniversary of the attacks and “the Tribute in Light” project.

An interesting question raised from our con- versation is about the repetition of this lighting installlation. How long should it be done? For- ever? For one more year? The towers have been rebuilt and the Tribute in Light installation, continues to take place every year. As lighting designers, we perhaps have a different perspective from the New Yorkers. We were wondering if there is a correct answer Fig. 143: The cathedral of light above the Zep- on that question. pelintribune. Finally, the last point was regarding the impor- tance of the element of surprise. This is an in- stallation that is repeated every year, however we could wonder if the impact would be the same in case the New Yorkers would be ex- posed to this installation every night. It seems that if that were the case, a “daily” tribute in light installation, wouldn´t be powerful enough to immerse and make the same extraorinary impact to the public anymore.

Fig. 144: Celebration of Victory in Moscow’s Red Fig. 146: Tribute in Light installation, New York, Square, in the Soviet Union-the fall of Nazi, 1945 photo from side. 77 4.3.3.2.INTERVIEW C QUESTIONS-RESPONSES:

1. What is the core idea behind your decision 3. Do you think that the variety of colors and to use light as a medium to interact with the different fonts of the texts, play an important public? role for the creation of a stronger visual im- pact than projecting the public messages We always use light as a medium for interac- with white color? tion. Light is a great way to start a conversa- tion with all types of people. It works across The idea was to replicate traditional resis- Fig. 147 ages and nationalities. Projection - especial- tance posters from other periods of history ly, when done in a guerrilla style has tradition- - many of these use vibrant colors - in par- Sharon Stammers ticular red. These did have a strong impact Light Collective, UK ally been used to provoke reaction. compared to a plain white text projection but the message of each piece of text was Light Collective consists of Sharon 2. How did you engage the citizens to take Stammers and Martin Lupton and is part in your action? the important part. based in the UK, but their unique phi- losophy has seen them travel to most Project Resist demonstrated the power of light 4. In your project, light plays an important corners of the globe. As well as un- literally by asking participants to verbalize role and starts a sociopolitical conversation dertaking conventional architectural what had been stirred up inside them during in the urban space. In which extent can lighting projects, Light Collective also the three days of the event and then used “light” provokes dialogue between the cit- undertake projects that see them pro- this as the basis for a light installation, project- izens? viding opportunities for their peers to ing people’s ideas onto the outside of the showcase their work or spreading the Light is a medium that can be configured word about light in the wider design university, in many ways - it can alter the appearance community and amongst the general public. Light Collective are also big on By asking a simple question: What do you re- of buildings, space and even people in a community engagement and have sist?, we aimed to find out what people felt quick and cheap way, allowing us to chal- produced projects where the general strongly about. We wanted the participants lenge the normal look of a place. It’s also public help present a project based to share their thoughts with us. The answers something easy for people to have an opin- on light. This style of working has led to were shared with the wider public during the ion on. Shared experiences provoke inter- guerrilla events all over the world and last evening of the event, by projecting them action between participants. education about light is a key to the onto the facade of the New Academic build- Light Collective philosophy. ing. 5. What media did you use to share the project? More information: https://lightcollective.net/ We asked the participants of the conference to write their answer on a post it note and put Light Collective always share projects with up on a wall, tweeting their answer or posting the world! We shared a short film of Project to Facebook. Resist on our You Tube channel.

78 CASE STUDY

C 4.3.3.3. INTERVIEW QUESTIONS-RESPONSES:

1. What is the core idea behind your decision to use light as a medium to protest?

We used light because it is a democratic and visually engaging medium. The twin towers are 30 storeys, so we were able to make a strong statement, viewable Fig. 148 near and far using the buildings like a canvas. As the Clare Lewis medium was ‘beautiful’ it could be subversive, share- Creative Director, Community Light able and could convince a broad range of tenants project and Documentary, Australia and the general public to engage with the idea and participate. #WeLiveHere2017 puts a human face to public housing, to encourage compassion, action, and where necessary, resistance to the rapid urban development we are experiencing in cities across Australia and globally. 2. How did you inspire the citizens of the building to take part in your action? In 2015 the NSW State Government announced their intention to redevelop the Waterloo Estate We ran more than 6 community outreach events to including 6 large tower blocks and numerous ‘low on-board tenants to the project, inspire them with the rise’ dwellings. This would involve relocating at vision for the project, have tea, talks on colour theory, least 3600 elderly, disabled and low-income peo- screening of The Castle an Australian comedy about ple as the 40-acre estate undergoes massive gen- home and belonging in order to capture people’s trification. The proposed development would see a huge increase density, and a change of ‘social details and explain the project. The prospect of trans- mix’ with the introduction of a large proportion of forming a perceived ‘eyesore’ was also a drawcard for private housing and commercial properties. The tenants, media and the public alike. The colors could new Metro station adjacent to the estate was the be adjusted by the tenants according to how they catalyst for the development. were feeling, this empowered them to have agency within the project idea even if that was as simple as 2017 is the postcode of Waterloo, a socially di- changing the color to their personal favorite or match- verse, dynamic, inner city community with an im- ing the colour to convey their ‘mood’. portant cultural heritage will be changed forever. Good, bad, indifferent? Have your say with #We- LiveHere2017.

More information: http://www.welivehere2017.com.au/

79 3. Do you think that light art is more im- Light proved to be an excellent cata- pactful medium to oppose for an issue lyst for discussion and people found the than through a demonstration or a post- heart of the project perhaps much more er? If yes, why and how? palatable. Unavoidably pretty first, think- ing and social issues and the idea of the Light in our case was effective, as the human element of redevelopment proj- towers could be seen from far away. It ects next... had not been used in this way in Sydney, lights from within people’s homes meant that participation and communication 5. What is the importance of media on the and 100s of conversations were required. success of your community-powered light It was therefore a more social project project? than a rally or poster, but that’s not to say Fig. 149: #welivehere2017 that these forms of protest are inferior or Media prices to be an important element redundant, but the difference and visual of the project, it meant that the issues impact of #WeLiveHere2017 meant that reached far beyond Waterloo and ad- it was broadly appealing and engaged dressed global concerns over the right to people well, outside the conventional live where you are connected to home. ‘housing rights’ movement. It also meant that people who might not be able to see the towers were viewing and discussing the situation in Waterloo, 4. In your project, light plays an important which was the point. role and starts a political conversation. In which extent can “light” provokes dia- logue between the Municipality and the citizens? Fig. 150: #welivehere2017 from far When we gained the extensive media coverage of the light project, we were immediately aware that the government was watching. They tried to curb the rhet- oric of our project trailer and were ob- structive about letting us have the launch in Waterloo Green, land belonging to the NSW Government.

Fig. 151: Collage #welivehere2017 80 CASE STUDY 4.3.3.4. INTERVIEW C QUESTIONS-RESPONSES:

1. What is the core idea behind your decision to use light projections to communicate your mes- sage and create awareness for the endangered species in the world?

To elicit change, humans need to feel an emo- tional connection to the choices they make. Pro- Fig. 152 jecting endangered species at a massive scale Oceanic Preservation Society (OPS) connects the human spirit to this global issue. A team of passionate artist, activists and change agents commited to sustainability and the preservation of our The projections create a vehicle for change to oceans and the planet. happen. Our mission has never been just about winning awards, we are committed to creating social change, by using our films and projections The Oceanic Preservation Society is a to inspire tipping points. Science shows that you Colorado-based non-profit organization can create a tipping point with just 10% of the that promotes marine conservation and environmentalism and addresses issues population adopting a lifestyle change. such as animal rights and censorship. It was founded in 2005 by photographer and current executive director Louie Psihoyos and Silicon Valley entrepre- 2. Community: What are the characteristics that neur Jim Clark. In 2009, OPS released your actions must have in order to communicate The Cove, a documentary film that de- a message and on the same time inspire the citi- scribes the annual killing of dolphins in a zens of the world to take action? national park at Taiji, Wakayama. The organization’s second documen- Emotional tary, Racing Extinction, focuses on the mass extinction of species, disappear- Connection, ance of coral reefs, and the rise of toxins Beauty, in the ocean. Color, Impact, More information: http://www.opsociety.org/ Action Oriented Solutions, Community, Grandeur

81 3. Symbol: Do you think that light is an impactful medi- um to communicate a message and inspire people to protect the world? If yes, why?

Yes, the ability to transform a building to a thing of un-imagined beauty communicates to the masses in a way that cannot be done with other mediums.

4. What is the importance of media in the success of your projection? Do you think that the event would have the same level of success without the media cov- Fig. 153: Projecting Change: the Empire State Building. erage?

In today’s world, media is a key. For the Empire State Projections, we had over 939.000.000 impressions. For The Vatican, we had 4,4 Billion impressions. The events would never have the reach or impact without media and especially social media.

5. What is the level of importance of the location of a projection (Landmarks)? Does the impact change depending on the building that is used? Why did you Fig. 154: Vatican project during the COP21 conference choose to use the Empire State Building for this specific in Paris action?

The building must be well known in the region you are working. It must already feel like a coveted building. People need to already feel a connection to and ad- miration of the building to really get their attention and to have them feel the transformation that is needed for global change. We have looked at other iconic buildings, like The Taj Mahal, The Houses of Parliament, Buckingham Palace, etc.

Fig. 155: UN Rendering

82 CASE STUDY 4.3.3.5. INTERVIEW QUESTIONS-RESPONSES: C 1a. What was the core idea of using LIGHT as a medium and create the campaign “Light it up Blue”? /1b. When was the initial day for the “light it up blue” campaign?

1a: The core idea of using light as a medium was because light makes an immediate and highly visible impact. The concept of lighting some- thing a specific color is universally understood. It’s also fairly easy to light a landmark or your own home as most people have access to a light source Fig. 156 which makes participating easy. Lighting up blue hundreds of thousands of landmarks, buildings and home shows support for, and promotes under- Autism Speaks standing and acceptance of, people with autism. We wanted to create The Autism Speaks is the world’s largest autism advo- an event that would be instantly associated with autism awareness and cacy organization, a non-governmental organization acceptance, in a color that wasn’t widely used in outdoor lighting. /1b: The initial day for Light It Up Blue (LIUB) was April 1, 2010. Since 2011, LIUB has Autism Speaks is dedicated to promot- always begun on April 2, which is World Autism Awareness Day. ing solutions, across the spectrum and throughout the lifespan, for the needs of 2a. Is blue light considered a symbol? individuals with autism and their families through advocacy and support; increas- b. In which extent people can make the connection: BLUE LIGHT=AUTISM? ing understanding and acceptance of people with autism spectrum disorder; 2a: The reason that blue is a symbol for and is associated with autism spec- and advancing research into causes trum disorder (ASD) is because autism is almost five times more common and better interventions for autism spec- among boys than girls, and the color blue is associated with boys. / 2b: We trum disorder and related conditions. think that the reason the vast majority of people now connect blue light with autism is due primarily to our LIUB campaign. In much the same way that pink ribbons became associated with breast cancer and red ribbons More information: https://www.autismspeaks. with AIDS, color becomes an identifier and signifier in and of itself, hence org/ blue for autism.

3. Do you consider the “Light it up Blue” campaign as an extra event during the awareness day or as the basic event with the biggest impact to peo- ple’s mind, compared to other autism awareness day events?

We see the two events, World Autism Awareness Day and LIUB, as two sides of the same coin. One event complements the other. The United Nations sanctioned World Autism Awareness Day in December 2007 to encourage countries to take measures to recognize and accept people with autism spectrum disorder.

83 That was essential in putting autism aware- 5a. In which extent do you think the broadcast ness and acceptance on the world stage media like television, internet/social media have in an official capacity. LIUB on the other influenced the success of this global light it up hand is an international visual event that blue campaign?/ b. Would it be possible to act any person, organization, city or country globally without this mass communication sys- can participate in, by displaying blue light. tem?/ They both support and reflect the same c. Are the Media compulsory in order to share an goals. event and affect the global community? The first World Autism Awareness Day was April 2, 2008. The Light It Up Blue campaign 5a. Television, the Internet and social media began two years later, on April 1, 2010 have been vital in spreading the word about (from 2011 onwards, the event always be- LIUB, as evidenced by this sampling of blue im- Fig. 157: Autism speaks Canada. gins on April 2.) LIUB was created to bring ages posted by traditional and social media: further attention to World Autism Aware- the Sphinx; the Great Pyramids of Egypt and Lux- ness Day and to kick-off US-based World or Temple; the Empire State Building; The Eiffel Autism Month, which runs through the Tower; CN Tower in Toronto; the Sydney Opera month of April. House; Christ the Redeemer in Rio de Janeiro; Table Mountain in South Africa; The Palacio De Bellas Artes in Mexico City; the Great Buddha of 4. What are the advantages of the use of Hyōgo in Kobe, Japan; The White House; La Ba- light in this campaign compared to oth- silica de la Sagrada Familia in Barcelona; Taipei er media like posters, television advertise- 101 Tower in Taiwan; Himeji Castle in Hyōgo, Ja- ment, run races, and more? pan; Burj Al Arab Hotel in Dubai; Niagara Falls; Chhatrapati Shivaji Terminus in Mumbai; The July There are several advantages to a light 15 Martyrs Bridge in Istanbul; The Bayterek Ob- campaign. First, the impact is immediate servation Tower in Astana, Kazakhstan; Patuxai Fig. 158: Autism speaks walk and easy to achieve. Most people around Arch in Vientiane, Laos; Shanghai Tower. Each the world have access to a light source one of these has made a tremendous impact and can fairly easily obtain materials to and created awareness of autism. make that light source blue, either by pur- 5b. No, LIUB would not have the same impact chasing blue light bulbs or buying blue fil- without the mass communication system. The ters. And honestly, lighting up your room, mass communication system makes LIUB so suc- house or building, blue, is fun. Posters, tele- cessful because it spreads visually stunning blue vision ads, race and walks are equally im- images of international landmarks and buildings portant elements in creating awareness around the globe. People remember those im- and acceptance for ASD, but they have ages and that in turn extends our message of a different, less immediate and smaller im- awareness and acceptance very quickly, to pact than LIUB. many, many people. Fig. 159: Light it up Blue campaign.

84 CASE STUDY

5c. Unsure of how you’re using “compulsory” in 6b. Yes, lighting up the Sphinx or Japan’s We feel that the combination of night this question. Media coverage, either tradition- giant Buddha plays an important role in and beautifully blue-lit landmarks, build- al or social, is not compulsory, i.e. media is not people’s engagement because it lets them ings and homes create an unforgetta- forced to cover stories. The media choose the know that autism awareness and accep- ble and impactful experience because stories they want to cover. Media coverage, tance is a global issue and that the need of the sheer beauty of the images. however, is necessary to promoting our mes- for support is a growing and global concern. It depends on the person as to whether sage. We are grateful that these organizations a poster campaign or television ads that choose to cover LIUB, but they do so of their run all day have the same impact. But all own accord. Media coverage is responsible for three are important because they each making LIUB a global event. 7. Do you think that the impact of the autism extend the message of autism aware- awareness could be stronger into the glob- ness and acceptance. 6a. Do you think that the impact on people’s al community, if the event was taking place live is the same when they experience an ordi- for a longer period of time (not only one day nary building lighted up blue, compared to a per year)? 9. How would you answer in the opinion famous landmark? 6b. Does the architecture that the light could be used as a tool/ and the history of the building/bridge/landmark We feel that World Autism Awareness Day is medium for communication, which is play an important role on people’s engage- a great springboard for international, nation- able to inspire and transfer ideas to the ment? al and local autism events. All events serve community? to increase awareness and acceptance on 6a. Great Pyramids or Christ the Redeemer, blue a global level. We hope that World Autism In the case of LIUB and its associations has a greater impact because they’re instant- Awareness Day inspires others to make a with World Autism Awareness Day and ly recognizable world symbol made even more difference in their local communities. US-based World Autism Month, we think memorable when they’re blue. You experience In the United States we use World Autism it’s very clear that light has become a and appreciate that landmark in a different Awareness Day and LIUB to kick off World medium of communication when it way. A landmark’s or building’s historical asso- Autism Month in April. We fully support any comes to promoting awareness and ac- ciation or architectural importance only builds other country that would like to follow suit. ceptance of autism. The color blue, es- on that impact. Blue-lit landmarks truly capture pecially in conjunction with LIUB, is now the eye and the imagination more so than ordi- instantly associated with autism aware- nary buildings. This in turn elevates the message ness and acceptance worldwide, and it of autism awareness and acceptance to a 8. In which extent do you believe that the is an effective tool, among all the others global audience. However, lighting homes and “light it up blue” event, that take part only that we have, in spreading our message. buildings does have a strong local impact, as it at night, is more impactful and unforgetta- demonstrates that any person can participate ble as an experience to people’s mind than in autism awareness at any level. LIUB is really a a poster campaign or a television advertise- grass-roots campaign and is only possible be- ment that runs in the entire day? cause homes, businesses and countries consis- tently keep engaging in it.

85 86 5. DISCUSSION

“The power of language is that there is a difference between the signifier and the signified; the power of film is that there is not. But film is like a language. How, then, does it do what it does?”

James Monaco, Film Critic & Author

87 5.1: Global color campaigns/ Color symbolism

In the following images, we can see five different occasions where blue light has been used to light up a landmark. In the fig.160, Eiffel tour is blue with yellow stars in honor of France’s Pres- idency of the Council of the European Union (7/2008). In fig.163, the Empire State Building is blue to celebrate the 120th anniversa- ry of Zhejiang University, while in fig.164, the same building is blue, representing the Democratic partY blue color and celebrates the Barack Obama won for a second term. In fig. 161 and 162, there are two global campaigns, the Diabetes awareness day and Au- tism awareness day, both representing by blue color. From these examples, it seems that is not enough to communicate a mes- Fig. 160: Tour Eiffel bleue - Blue Eiffel tower - Présidence française du Conseil de l’Union Européenne sage just by using a specific color light. It is necessary to have more information about the day and the event. For example, if it is April and you are in front of a blue building of your city, you might link the blue color with the Autism and get the message Fig. 163: New York’s Empire State Build- ing turns blue on May 20, 2017 Eastern automatically without further information in case you have ex- Time to celebrate the 120th anniversary perienced in the past, an Autism Speaks event with the Light it of Zhejiang University. up Blue campaign. On the other hand, if you have never seen a landmark turning blue and you see it for the first time, you will be first attracted, maybe surprised and then you will need further information to understand the reason behind this transformation.

Color symbolism in art and anthropology refers to the use of col- or as a symbol in various cultures. There is great diversity in the Fig. 161: London Eye,Diabetes use of colors and their associations between cultures and even within the same culture in different time periods. Taking into con- sideration, the cultural differences, I am wondering how we are able to talk about global events, where color light symbolizes a specific message.

Who decides the “global color campaigns”? Why do we link green light with environment, red with AIDS, pink with CANCER, orange with non-violence? Which are the criteria of the color light selection? Who is the responsible organization who decides which will be the global colors? Fig. 164: Blue light (Blue for Democratic Do we confuse people by using the same color for different oc- party vs. red for Republican party) as casions? Fig. 162: Basilica Sagrada Familia, Awareness for autism. Barack Obama won a second term in office. 88 DISCUSSION an immediate strong visual impact 5.2: Variety of tools/ which is easy to achieve under a specif- Comparison ic lighting environmental context. Light is practical since urban projections can Where are the special advantages of occur at many scales and on any sur- light as a communication medium? faces in the urban space. It is able to What are the positive and negative create a surprise effect to the observ- differences between the traditional er, in places that it is not widely used. media and light in order to create en- It can be very impressive depending gagement? on its content, rhythm, brightness, in- From this research, we cannot prove tensity and other lighting characteris- Fig. 165: Students protest in Stel- Fig. 168: The first hologram pro- that light is the most impactful medi- tics. Light is flexible and transformable, lenbosch University, South Africa test in Spain 2015 um but we can make a statement which means that it can change size, about how impressive and inspiring it shape, color and transform its message can be in order to communicate so- very fast. Compared to printed mate- ciopolitical, environmental or health rial, banners and posters, it doesn’t be messages. By observing the following moved and it cannot be destroyed be- pictures and by taking into consider- cause of the wind or other climate con- ation all the previous information, we ditions. Moreover, light can create new can make a comparison between opportunities for public engagement the traditional media and light. Both, through social media and interactive traditional media and light, are im- technologies. Light is a peaceful way portant and useful in the urban space of protest compared to demonstrations Fig. 166: Greenpeace using paint Fig. 169: Occupy Bat signal and the one complements the other. which can lead to police engagement. to write GO SOLAR in Greece. for the 99% There are similarities like the motive Finally, light is a creative temporary me- of communicating a message to the dium that can transmit a message with- public and differences like the time of out “destroying” a façade, compared the day that those actions can take to graffiti. Even though it is temporary, place. Actions with light are visible depending on how powerful is the mes- and impressive (only) with darkness, sage it can stay in people’s mind. On while the others are impactful during the other hand, this temporality can be the day and they are not visible at considered as a negative characteris- night (except if a light is used to high- tic. The graffiti will be visible for a long light them). In this chapter, we are time, while light will disappear after the focusing on the advantages and dis- end of the event. Another important advantages of light compared to the disadvantage of light is the visual dis- Fig. 167: Greenpeace Fig.170: A slogan referring to the other mediums like painting and graffi- turbance that can create in big cities. protest Eiffel Tower, 2017 COP21 United Nations Climate ti, banners and street demonstrations. There are environments like the Time Change Conference in Paris on the Light is a low-cost, high-visibility, sus- Square, Piccadilly Square, places in To- Eiffel Tower. tainable, environmental-friendly and kyo etc, where light can be considered ephemeral medium that can create by some people as visual “noise”. 89 5.3.a: Same message - Same medium- Different installations

In the following examples, these three different installations are using the same medium, the light is transmitting the same mes- sage. They create awareness for AIDS/HIV.

It is very interesting to observe the variety of different outcomes by different designers, using light as a medium, in different forms and combinations. Fig. 171: Athens polyclinic In the first project, fig.170, the lighting designer created a temporary AIDS project lighting installation and used 16 theatrical lighting fixtures placed in- doors and outdoors to light up the red ribbon canvas. The installa- tion is placed in three levels of the clinic and the indoor space with blue high UV flood light, creates a high contrast with the illuminated red ribbon which seems to be connected with the inner part of the building.

In the next project, fig. 171, the City Hall in San Francisco is using RGB lighting fixtures for its permanent outdoor lighting, which allow the Fig. 172: San responsible to change the colors of the building depending on the Francisco City Hall is lit red on day and the message they want to communicate. In that case, all World AIDS Day the lighting fixtures are turned red. in 2009.

In the last project, fig. 172, the designers are using mapping projec- tion, to present a movable bright message with blue capital letters in the facade of a building. They are using a direct communication strategy compared to the previous examples, because they are us- ing words and direct messages, including the words “AIDS” in their projection.

Concluding this chapter, we must highlight that it is very crucial, as lighting designers, to use the countless possibilities that the technol- ogy provide us and focus on creating creative variations and instal- Fig. 173: lations that will be able to impress, attract and inspire people. “Visual Aids” 90 DISCUSSION 5.3.b: Different message - Same medium - Same installation

On the selected examples, the lack of light is presented as a medium that communicates two different messag- es.

In the first pictures, theswitching off the lights, symbolizes respect for the victims of the terrorist attacks in Barcelona and Manchester and the darkness is used as a medium to show compassion and solidarity to the victims´ fami- lies.

In the following pictures, the Eiffel Tower have switched off its lights for a symbolic action for the planet. In that case, the darkness is a medium to raise awareness for climate change and a call to action to the humanity for protecting our planet.

In that case, it seems that is crucial to have further infor- Fig. 174,175: Dark to Honor the Victims mation for the installation before experiencing it. People who will see those buildings in darkness, must know the reason why the lights are switched off.

Is it because of the Earth Hour day or because of a victim honoring action? Most of the times, the information will be provided by the massive media.

The question in this chapter, is related to the role of con- text and information that the public must have in ad- vance, in order to decode the message of an installation.

Fig. 176: Earth Hour 91 5.4a: The role of landmarks MASSIVE MEDIA & SOCIAL MEDIA A case study: ESB Empire State Building, NY #EMPIRESTATEBUILDING “The Empire State Building is the most photo- TOWER LIGHTS PROJECT: graphed building in the most photographed The international icon of the New York skyline, since city on the planet. Tag your Instagram, Twitter, 1976 the Empire State Building’s tower lights have and Facebook photos with #EmpireStateBuild- maintained a tradition of changing color to recog- ing and you might see them on this page!” nize various occasions and organizations throughout This is a text retrieved from their official website, the year. http://www.esbnyc.com/share-esb.

From 1976 to 2012, changing the bulbs was a six-hour Their lighting calendar has been working as a task and there were only 10 color options. A team very effective advertising tool for the Empire of electricians was required to change the colors of State Building as well as the organizations that Fig. 177: Screenshot from the LIGHT CALENDAR the high-intensity discharge (HID) lighting arrays posi- are turning into “ Lighting Partners” for one day. tioned on the tower’s 72nd and 81st floors. For each color change, this team would spend hours manually In the case study chapter, all the experts con- installing color disks on each fixture. It was a costly and firmed the importance of landmarks in the high-maintenance procedure. Everything changed urban space in order to create impact. They in 2012, when ownership installed a new computer called them, “buildings with a meaning” and driven LED light system( Philips Color Kinetics). The sys- buildings that communicate history and orien- tem is capable of displaying 16 million colors, which tation in the city, among others. As OPS orga- can change instantaneously. nization said, “People need to already feel a connection and admiration to the building to They stage dazzling light shows celebrating holidays really get their attention.” and events, often synchronized to music broadcast simultaneously on iHeartMedia stations. The Empire A significant outcome from the experts’ inter- State Building does not grant lightings for personal views was that, except the importance and events such as birthdays, anniversaries, or weddings; power of landmarks to affect people, the oth- commercial events; political campaigns; religious er buildings in the urban space can have an figures or events.(http://www.esbnyc.com/explore/ important impact as well. These buildings are tower-lights) impactful in a local level and, as Schwending- er, WWF and Autism Speaks said, by using any In fig. 178, we can see the image that is provided to building in the urban space, any person or or- organizations who wants to become an Empire State ganization can participate and transmit mes- Building Lighting Partner in order to write what colors sages with the use of light. the light should be at the day of their event. There are no online data about the cost for this collaboration The question is if the world should follow the and in general there are both positive and negative Empire State Building lighting calendar exam- reactions from people and organizations about the ple. Would it be beneficial if more landmarks specific lighting calendar project and the way the re- all over the world, use the same strategy to Fig. 178: Screenshot from the LIGHT CALENDAR sponsibles accept or reject a collaboration. communicate sociopolitical, health and envi- 92 ronmental messages? DISCUSSION

CNN Taps Obscura to Project 2016 International Rainbow for Manchester terrorist Election Night Results on Empire State Women’s Day Gay Pride attack 17 Building (http://obscuradigital.com)

Fig.179: US Elections 2016 CNN. Fig. 180: US Elections 2016 CNN : Fig. 181: International Women’s Fig. 182: Rainbow for Gay Pride Fig. 183: Dark Empire State Building Obscura Digital, Day: Empire State Building in ESB,

The Empire State Building as a canvas for the transmission of important socio-political messages through light.

93 5.4b: Lighting designers’ role

In connection with the previous chapter On daily basis, the tower will be illuminated in (5.4a), it seems that it would be valuable if white to display the tower in a balanced and more buildings in the urban space would aesthetical way by highlighting its architec- have the possibility to communicate and tural qualities. However, on special occasions transmit temporary sociopolitical, health decided by the Municipality, Åf lighting, as and environmental messages. The question designers, have created their interpretations is, what the lighting designers can do to ini- of the specific holidays and signature days in tiate this conversation? With the expansion order to share inspiration and create an expe- of lighting technology, there are ways to rience for the residents in Rødovre. install lighting fixtures and control systems in any building (or any project like squares, The next question was about more technical facades, bridges etc.) that will give end- details, the presets and the endless possibilities less possibilities of colors, intensities, lighting for using the tower for any special occasion. Fig. 184 Rødovre Water Tower, Denmark effects and other lighting characteristics Mr. Møjen, explained that all the light-scenes (chapter 3.6, p.33). Lighting designers can are preset by ÅF Lighting before delivering the introduce a new layer of communication in project. The themes for each scene was made their outdoor lighting projects. in collaboration with the Municipality and the lighting designs for each one of them was made by ÅF Lighting. The project currently in- For example, ÅF lighting, recently complet- cludes 8 different lighting settings of which can ed a project in the City of Rødovre in Den- be controlled by sending a text message to mark, in which has established a new layer the lighting controller. This means that on Hal- of communication between the Rødovre loween as an example the Mayor can send a Water Tower and the city. text message and the illumination of the tower will display a pre-set Halloween themed light- In the interview with the lighting designer ing. of the project, I was wondering about the core idea behind their concept to add ex- Every single fixture used in the project is con- tra lighting presets for the lighting of the tow- trollable using DMX which makes anything er. As Mr. Møjen said, their concept was to possible. In case the Mayor would like to have emphasize the history of the old water tower a new event, for example, the awareness day which was once used as an essential part of of breast cancer, the Municipality will be able the water distribution in the city. Now that it to illuminate the tower in magenta as long as is no longer in use, they wanted to give the they know DMX Programming or contact ÅF tower a new meaning and a new important Lighting to program the DMX control. role for the city as a distinct landmark to represent the City of Rødovre.

94 Fig. 185, 186, 187, 188 DISCUSSION 5.5 Abstract vs literal interpreted directly. Also, those proj- communication ects, most probably, will be translated and filtered by people’s personal opin- ions and beliefs. For that reason, they A very crucial observation during our need further information or “educa- interview with Ms. Schwendinger was tional messages” as Ms. Schwendinger about the difference between the ab- said, in order to create a collaborative straction and literal communication of feeling and common perception. On a message. What is abstraction? Ac- those projects, we experience the col- cording to Aristotle, a Greek philoso- or symbolism in a considerable extent, pher, art was best understood as a type as well as forms and structures that are Fig. 189: “Aids on going going on” Fig. 192: “What do you resist?” of mimesis, an imitation of reality de- linked with objects and unconscious pendent on a medium( through which symbolisms. it was expressed) and a mode (the way the medium was utilized). The more mi- For example, in n.1(fig.193), #welive- metic an art, then, the less abstract it is. here2017, the colors are expressing the mood of the residents which are creat- In chapter 4.1 there is a variety of light- ing a colorful lighting sculpture. In n.6 ing installations that can be divided in (fig.191), the Minnesota bridge is trans- two groups. In the first ones, projected formed into a rainbow structure symbol- text, images, videos are used and they izing the LGBT celebrations. However, transmit a literal, easy understandable in both examples, people must be in- Fig.190: Eiffel Tower, solidari- Fig. 193: Light sculpture #welive- message which most of the times in- formed about the concept of the pro- ty for terrorist attacks here2017 cludes the context on the presented test project (n.1) and on the other proj- information. What is meant by that is ect (n.6) people should know the color that for example, in projects 7(fig.192), symbolism and link directly the rainbow 26(fig.189) the projected messages are color light with LGBT. Moreover, the clear and the observer understands project n.8(fig.194), the Tribute in Light, the meaning of the installation without has also an abstract character since further explanations. In n.7, it is clear the shapes of two towers are created that “What do you resist?” projection is by using the beams of lights. about a social issue as well as “Aids on going going on” which is about AIDS. On that point, it is interesting to highlight The content in both of them is easily un- a difference on the color symbolism. In Fig. 191: Color symbolism and LGBT Fig. 194: Tribute in Light derstandable rights the project n.10 (fig.190), the Eiffel Tow- er is transformed into the German flag On the other hand, there is the second by using lights in the colors of the flag. group of projects, which are using ab- On that case, there is no abstraction straction to communicate a message. since the flag is a clear and specific We could say that these projects are symbol of Germany. more complicated to be 95 5.6: Time and repetition events that are yearly A yearly repetition of an event creates a feeling of antic- repetitive ipation. In that way, a lighting installation becomes even more successful and impactful for the citizens because of its repetition, is that the case for all the repetitive installations? All the selected examples (4.1 Project categories), have a temporary character, however there are some that hap- pened only once and others that are yearly repetitive, both could be successful, but the second ones, might be more well known since there is a group of people who are waiting for the next years event. “Tribute in Light”, NY, US “The ephemeral creates the permanent”. As the lighting de- Fig. 195 Fig. 196 signer, Ms. Leni Schwendinger said.

There are two questions here, I am wondering, how a repeti- tive installation could induce the same excitement and pos- itive impression to people who have seen it before? Is that possible? The sociologist, Mr. Don Slater said that, “MAGIC” and “INFORMATION” are competing each other. The less you know is more magic, the more you know is less magic. Also, in our interview with a member from the illuminator, he said that is very difficult to surprise the public, but since you find the way, the installation can be very impactful and in- “ Earth Hour”, fluential. worldwide Fig. 197 From this research, we can conclude that for specific instal- lations and under a specific context, light medium can be very impactful and transmit important messages to people. In the specific context, we must mention the importance of the temporary character of the lighting event, projection, color change, installation etc. Generally, people have to be surprised in order to remember a specific event. If an instal- lation is yearly repetitive, it should have a strong effect or visual content that will be able to create positive impressions every year. “Light it up Blue”, worldwide Fig. 198

96 DISCUSSION 5.7: Regulations the Public, the possibility to express opinions temporarily, without affecting others´ properties. The results of this re- In this chapter, a discussion concerning the regulations for search show that there is a demand for establishing restric- the use of light as a communication medium in the Urban tions and regulations on the use of light in the urban space. Space, has been is established. These regulations should be focused on the time of the use As this research is focused on three specific message cate- of light, the location, the intensity, brightness, flickering ef- gories (socio-political, environmental and health), the reg- fect and other lighting characteristics, that can create a ulations about the communication through light are also visual disturbance, based on the specific environmental focused on these three categories. context. For example, a lighting installation should take into consideration the location that will be placed. If it is not a Both Mr. Charalambides and the illuminator’s member landmark, a central location in the city center, a bridge claimed that both organizations (Greenpeace, the illumi- etc., the creators should avoid the use of light in a resi- nator), have been arrested in the past for using light as a dential area. There are always exceptions, for example, medium to protest in the urban space and the judge dis- in the previous projects, #welivehere2017 (p. 46) and “The missed the charges because they didn´t permanently at- breathing lights” project (p.71), the use of light in a resi- tach anything or get financial benefits. dential area was linked with the message that was com- municated. Moreover, related to the time criteria, even in How illegal is to project light in the urban space? a public square, these lighting installations that communi- cate sociopolitical, environmental and health messages, As Mr. Vougiouklakis said, regulations are important for the shouldn´t be on at 4:00 am in order to avoid disturbance situations that exceed the limits. That is not the case for and confusion. the use of light in the urban space so far, at least in some countries. According to the illuminators’s member, in LA, From the relevant discussion, with the representative of random light projections are claimed as illegal, because of the Municipality, we drew attention on the importance of the general exceeding use of light for advertisement and controlling exaggerations, related to the aesthetics, light- branding in the city. There are no specific regulations to ing characteristics and presented timeframe of an instal- define the creation of a light-based message or image on lation. However, according to the content that would be someone else’s property or on the urban space. presented, we conclude that people have the right to ex- press their opinion with respectful actions and light could On that point, the discussion is related only to democratic be considered as one of these ways. Nevertheless, the States worldwide. Democracy includes the belief in free- content should also be linked also with ethics and a mini- dom and equality between people. That means that ev- mum common sense. ery person under a specific context has the right to express freely his/her opinion. This specific context has to do witha In any case, this is a very demanding topic and it is not minimum common sense about what is appropriate and the responsibility of the lighting designers, to resolve it. The what is not. It is connected with the level of respect to- time, location, content and all the above characteristics wards the other citizens and their city. For example, de- are some examples that should be taken into consider- stroying the public property, streets, furniture etc, is not ap- ation when the “regulations topic” is discussed. propriate. Light gives the Municipality, NGO´s and 97 5.8a: The Importance of Media As it is already mentioned in the background, chapter 3.3, the audience is attracted on Talking about Social Media, we must highlight news that raises their emotions. As Castells that they are changing the world in many ways. described, “negative emotions have great- For this research, the important change is that er effect on focusing attention than positive they are giving non profits organizations the abil- ones”. ity to reach more and more people. It provides a way to take local events and share their mes- Today, the media have been involved in sage online globally. A local action can go “vi- drama trends of global warming as a result ral” and spreads a message across the globe. All of a movement from scientists, celebrities of the previous examples (4.2 In-depth analysis and environmental activists. The media are for selected projects category), have used So- the conveyors of the movement’s message Fig. 199: Modern media. cial Media in a massive extent. Moreover, all the (Castells, 2009) experts agreed on the importance of the Social Media in order to spread the messages of the On that point, a new question is raised, what temporary lighting installations. if, the communication of the environmental message through light could be more inspir- A very important point to mention here is that ing and impressive than the fear feeling that most of the times the organizers of an event will the media is highlighting? start the online campaign, will share pictures or set a “hash-tag” (a word or phrase preceded by From all the previous examples and the ex- a hash sign (#), used on social media websites perts’ interviews responses, it is noticeable, and applications, especially Twitter, to identify that light can create attraction, inspiration messages on a specific topic.) while, other Mas- and awareness depending on the surround- sive Media like the television, radio, newspapers ing environmental conditions the content Fig. 200: Social Media etc. will most probably share the final resultof the of the installation, the provided informa- event depending on their beliefs, the level of in- tion and the other characteristics that have fluence on the viewers’ opinion and ideologies been mentioned before (dynamics, colors, and depending on the success that the event brightness, global events etc.). might have. As it was mentioned before, the me- dia choose to report or ignore subjects while in the internet, at least in Europe, America, Austra- The question that cannot be answered ev- lia there is a level of “free speech” , where every idently yet, is which one between, the light individual has the right to write and express his as a medium and the “fear” that the media opinion. An expert during our interview, used the is using, is the most powerful and impactful phrase “ocean of information” to describe the tool for the global society in order to raise internet and the possibility of fake news and pro- awareness and consciousness. paganda through them. Fig. 201: Modern Media

98 DISCUSSION 5.8b: Light as a mass According to Obscura Digital, “light is the most impact- ful medium to communicate a message”. Since we are communication medium a highly visual culture and, technically speaking, light is required to see the world around us. Used at scale, From all the previous examples, the experts’ interview whether it’s the size of the audience (like Television) or results and the in-depth research on the six selected the size of the imagery (like large-scale projections), light projected, it appears that light is undoubtedly a com- increases the potential for grabbing people’s attention, munication medium which is able to transfer messages elevating one’s signal above the noise - and this is espe- quickly and simply, without raising linguistic, class or ra- cially true in today’s fast-moving information age. In ad- cial barriers. It has been used in many temporary inter- dition, Obscura Digital, highlighted the importance of a ventions in order to achieve a visual impact and most well-crafted imagery and message to drive awareness importantly, dynamically contribute to transferring mes- and inspiration around a particular cause. sages and information on sociopolitical, environmental and health-related fields. In the end, from their perspective and experience in the field, they answered to the question, if it would be pos- As it has already been mentioned in the Background sible to consider light as a mass media communication chapter (3.3 Communication Theory & Media), there are like television, radio, internet etc. It was said, that by a many different categories of existing mediums of Com- technical point of view, light is required for those forms munication. Some of them are Face to Face Communi- of communication (except radio from the examples), cation, Social Media Communication, Written Commu- and when considered as such, it is “absolutely a pow- nication, One - Way Audio or Video Communication. erful means of mass media communications”. However, if we are talking about projected light as in the previous The question that has been raised is if it would be possi- examples, opportunities for mass communication are ble to include light in the existing mass communication certainly more limited to the people who directly expe- mediums and call it “ Communication through light”. rience the installation, unless the installation would be very inspiring and people will share it on Social Media Attempting to initiate the continuation of a constructive platforms, giving it more of an audience. dialogue on the subject, an additional interview with a representative from Obscura Digital, was conducted. For this last sentence, we could conclude that project- Obscura is a creative studio in San Francisco’s. They cre- ed light, and in general, lighting installations are able ate one-of-a-kind immersive experiences that as they to transmit and communicate messages to the public, claim, will change the way that people think about the however in order to be able to reach a global audience, world around them. All of their projects are linked with the Social Media, the Internet and other media like tele- the idea of light as a medium of communication and for vision, will need to contribute and spread images, vid- that reason, they were selected for a further discussion eos and articles worldwide. on the subject.

99 5.9: Another use of light - for indoctrination. Reed(2015) mentions that “Propaganda”. Hitler, had no desire to be a theater producer, although he was actually sensitive to the ca- All the previous examples are communicating pacity of spectacle to build and bolster public sociopolitical, environmental and health mes- support for his policis. He was also keenly aware sages. All of these examples, through in many of the power of the mentality of the “communi- cases, the “protest” form, try to inform, inspire ty of the mass rally” to influence the public and and activate people to learn, take action and make them feel more connected with the ide- support the society and the community. als of the Nazi Party. The effects of the aesthetic and psychologal aspect of the rallies were very But, as we describe and emphasize the commu- powerful as people were swept into a fervor of nication force of the light, we want to note the passion and support, just as Hitler predicted use of light also in other political actions with a they would. Fig. 202: Hitler delivering his speech at the Nuremberg rallies. 1937 main intention to control, exploit and spread of other ideologies (that use the practices of pro- More specifically about the lights, the French pagandas, in order to succeed their targets). ambassador FrancoisPoncet described the il- It’s out of the scope of this section to analyze in lusory cathedral as “Mystical ecstasy, a sort depth the term propaganda and its uses in the of holy illusion,” which gripped the audience. global society, but can present a relevant histor- As Reed (2015)describes, this pseudo-religious ical example of the use of light for this purpose. experience echoed the architecture of the grounds, as well as those of the great Catholic A crucial example, which have already been Cathedrals. The effect was accomplished by mentioned in chapter 4.3.3.1, is the Cathedral the use of one hundred and thirty anti-aircraft of Light (or Lichtdom) for the Hitler Nazi Party in search lights to encircle the Rally grounds. The Nuremberg at 1937 by Albert Speer where the light was formed the great pillars and ceiling light is a symbol of power. People were brought of a vast room, enclosing the audience within Fig. 203: Nazi rally in the Cathedral of Light, 1937 to Nuremberg from all over Germany to “witness a luminescent architectural marvel together, the spectacle of military and social power and in the chuch of Nazism. Finally, another detail greatness: grand speeches, columns of tanks and about those lights is that when the war began soldiers in their best uniforms, music and prac- the lights were used for highlighting enemy air- ticed recitation all saturated in the myth of Ger- planes so that the flak could easily shoot them many’s superiority and greatness”. (Reed,2015). down at night. In the Nazi Party, according to Reed (2015), the role of light and music was an extremely useful form of propaganda, as it was seen to be able to Stanley(2015)in his book says that propaganda illicit a response”almost on cue”. Moreover, she emotionalizes facts and ignores critical think- said that the Nazis learned that a good tune ar- ing. From this research and the presented ex- ranged in a pleasing manner, lights and an ap- amples, we recognize that, with light projection propriate political text, placed the public in the people may emotionalize issues. Therefore, the proper frame of mind question would be, in which extent do light pro- Fig. 204: The cathedral of light was documented in the 100 jections could turn into propaganda? Nazi Propaganda film Festliches Nürnberg, released in 1937 DISCUSSION 5.10: Light as a “Language” the message of a lighting installation differently in a first level if they don’t have specific informa- Monaco, in his book about how to read a film, tion for the context of the project. makes a correlation between the terms “language” and “film”. He says that film is not a language in the Another fact that arises from this research is that sense of English, French, or mathematics, but it is people do not necessary need to acquire an in- a system of communication with rules, codes and tellectual understanding of light in order to ap- structure. He says that any system of communica- preciate it, on a first basic level. People are ex- Fig. 205: What is a language? tion can be considered as a “language”. posed to light since they were born. Daylight and artificial light are experienced daily and uninten- By definition, language(Linguistics) is a system for the tionally and people are familiarized with them. expression of thoughts, feelings, etc., by the use of That means that children, teenagers, adults, el- spoken sounds or conventional symbols. Moreover, der people will experience the impact of light is the faculty for the use of such systems, which is a separately of their educational level, maybe on distinguishing characteristic of man as compared different levels depending on their age, etc. with other animals. It is also, the language of a par- ticular Nation or people: the French language, the As any language, light should also have rules, Fig. 206: Language, emotions and symbols English language, the Greek etc. Finally, another syntaxis and codes. It might not have grammar, definition is that language is any other systematic however it should have a systematic arrange- or nonsystematic means of communication, such ment of lighting characteristics and critical con- as gesture or animal sounds: the language of love, structions (systems of logical relationship), in a body language etc. (Collins English Dictionary,2014) presented lighting installation which will commu- nicate structured messages ( chapter 3.6). Color, Monaco mentions that every human being can brightness, intensity, darkness, direction, rhythm, perceive and identify a visual image. It is proven contrast and dynamics are playing a vital role that there are cultural differences and for that rea- in the resulted impact, as we have already ob- son, it is important to mention that people might in- served in the previous examples. terpret the visual images differently. Fig.207: Sign language Finally, as it was mentioned in chapter 3.1, the After the extent research of this thesis, for light as multisensory installations, are the ones that are a medium for communication, awareness raising able to create a stronger and long lasting impact and social engagement, I was inspired by the idea as well as creating an immersive experience for of using the metaphor of language to describe the the visitors of an installation in the urban space. capacity of light. So, by changing Monaco´s words and replac- Light is able to create shared behavioral reactions ing light into the film,“The power of language is to people who have comparable cultural back- that there is a difference between the signifier grounds (chapter 3.1). Except of that, is a medium and the signified; the power of light is that there that will create a general reaction to people, even is not. But light is like a language. How, then, though they will probably interpret does it do what it does?” Fig. 208: Body language 101 102 6. CONCLUSION

“The aim of education is the knowledge, not of facts, but of values.”

William S. Burroughs, Writer & Artist

103 LIGHTING DESIGNERS’ ROLE: IMPORTANCE OF MEDIA: 6.1 Conclusions With the expansion of lighting technology, To sum up massive media are very import- there are ways to install lighting fixtures and ant for turning an action from a local level COLOR LIGHT: control systems in any building (or any proj- to global and massive media are not forced Color light makes an immediate and highly visi- ect like squares, facades, bridges etc.) that to cover stories. They choose the stories they ble impact. The concept of lighting something a will give endless possibilities of colors, intensi- want to cover. specific color is universally understood. However,it ties, lighting effects and other lighting char- seems that is not enough to communicate a mes- acteristics. Lighting designers can introduce LIGHT AS A MASS COMMUNICATION sage just by using a specific color light. It is neces- a new layer of communication in their out- MEDIUM: sary to have further information about the gener- door lighting projects. Projected light, and in general, lighting instal- al context of the message, for example, day and lations are able to transmit and communicate name of the event. Color symbolism carries infor- ABSTRACT VS LITERAL COMMUNICATION: messages to the public, however in order to mation, for example, the colors of a specific flag A literal, easy understandable message, be able to reach a global audience, the So- represents a country. In that way, color light is the most of the times includes the context of the cial Media, the Internet and other media like symbol. message on the presented information. On television, will need to contribute and spread the other hand, the abstract representations images, videos and articles worldwide. LIGHT AS A MEDIUM: are more difficult to be interpreted directly, Light is a low-cost, high-visibility, sustainable, they need further explanations in order to ANOTHER USE OF LIGHT/ PROPAGANDA: environmental-friendly and ephemeral medi- make clear the transmitted message. The use of light is also noted in other political um that can create an immediate strong visual actions with the main intention to control, ex- impact. It is a practical, flexible and transform- TIME AND REPETITION: ploit and spread of other ideologies (that use able tool which can create a surprise effect. It A yearly repetition of an event creates a the practices of propaganda, in order to suc- creates opportunities for public engagement, it feeling of anticipation and the “the ephem- ceed their targets). Stanley says that propa- is a peaceful way of protest and finally, is a tem- eral creates the permanent”. However, peo- ganda emotionalizes facts and ignores critical porary medium. Once a lighting experience has ple have to be surprised in order to remem- thinking. The use of light also may emotion- concluded, the environment returns to its pre-in- ber a specific event. If an installation is yearly alize facts. This could lead to the question in tervention state. repetitive, it should have a strong effect or which extent light can turn into propaganda. visual content that will be able to create ROLE OF LANDMARKS: positive impressions every year. LIGHT AS A LANGUAGE: The importance of landmarks is confirmed in the Language is any other systematic or nonsys- urban space in order to create a stronger impact REGULATIONS: tematic means of communication, such as globally. They are “buildings with a meaning” and It is not the responsibility of the lighting de- gesture or animal sounds: the language of people have already been feeling a connection signers, to resolve the regulation issue. How- love, body language etc. By using the meta- and admiration for the buildings. On the other ever, the time, location, content, lighting phor of language to describe the capacity of hand, the other buildings that are used as a can- characteristics like intensity, rhythm, contrast, light. Light is able to create shared behavioral vas for a communication of a message through brightness are some examples that should reactions to people who have comparable light, are also very important and impactful in a be taken into consideration when the “reg- cultural backgrounds. Light could be consid- local level, since they highlight that any person or ulations topic” is discussed in coordination ered as a language in an abstract way. organization can participate and transmit mes- with ethics and a minimum common sense. sages with the use of light in the urban space. 104 CONCLUSION

Through the final conclusions, it is evident that The level of creativity and the endless possibil- light under a certain context is an attractive and ities can affect the impact that the lighting in- impactful medium, suitable to raise awareness, stallation will have and the success of the trans- communicate messages for local and global mission of the specific message to the public issues,and create social engagement in the ur- (receiver). ban space. Lighting interventions in the urban space, can The context in which light can be an attractive enhance a collective spirit and inspire a group and impactful medium, firstly, includes theenvi - of people to take action, in order to tackle ronmental surrounding conditions. The external important sociopolitical, environmental and factors like commercials, billboards and adver- health issues. tisements are very important for the location of a lighting installation and/or projection. The en- Light has a unique communication style. It is vironmental context will influence the impact of a non-verbal language which articulates and an installation. broadcast meaning, by using the city as a can- vas. In some environments, light can be complete- ly innovative, interesting and attractive, while Light is able to communicate messages, raise in other environments, light may cause visu- awareness, commemorate events, highlight al disturbance. In those environments, special public issues, show compassion and solidarity, installations may happen in order to create a drive attention and call the public to take ac- strong impact which will inform, affect, inspire tion. and motivate people to take action. Maybe a complete darkness moment, like the Earth Hour Finally, it is very important to set an interdisci- campaign, a very impressive visual lighting plinary dialogue between the government, the performance, like the Projecting Change in the stakeholders, the non-governmental organi- Empire State Building or a powerful symbolic zations, citizens, lighting designers, multimedia lighting installation like the Tribute in Light. and graphic designers, programmers and art- ists, in order to work closely together and notice The next components that this “context” in- the communicative role of light from a social cludes, are the tools that the designer/creator perspective. It is time to start using light more can use. A combination of colors, rhythms, lit- consciously with our main goal to inspire the eral or abstract representations, brightness, public and communicate messages in an inter- dynamics and contrasts among other lighting esting, visually attractive and impactful way. characteristics.

105 6.2 Outlook

This research indicates light as a medium to en- The surrounding environment will be more dynamic, hance communication and social engagement where buildings will be communicating with the public in the urban space and gives to the audience and light will be adding emotional content in the urban and researchers the incentive to dive deeper space, by enhancing the unique sense of every place. into the issue and investigate the many aspects of it, in further analysis. It is evident that the con- In order to conclude this research, an innovative and tinuation of a constructive dialogue on the sub- artistic project will be presented. This project could ject will help solidify the position of light, as a summarize all the previous characteristics and invite fundamental and meaningful communication designers and artists to follow its example and develop medium. more projects like this one, which maximizes the level of public engagement through a lighting installation and Finally, the lighting designer needs to question finds a way to connect the virtual with the real, the in- the social mission of his profession. What is his visible with the visible and the technology with nature. role in the urban space? Is it only designing aes- thetic and secure spaces, enhancing the archi- With the project, “one heart one tree”, the artist, Nazi- tecture, creating branding identities and visu- ha Mestaoui says that we all have the power from all al experiences in the space or he can use the over the world, to contribute in a positive way. It is a medium of light to introduce a communication collective piece of art which transforms famous mon- layer in the urban space, which will encourage uments, like the Eiffel Tower into a virtual forest, using people to engage and interact with each other, lighting and mapping technologies. The process is sim- inspire them to take action for sociopolitical, en- ple, the participant from any place of the world, can vironmental and health issues and understand download the application, records his heartbeat with the impact that every individual can create on the use of the camera sensor, then he will be able to this planet? see his tree with his name written on it, growing in the rhythm of his heartbeat and being projected in the Eif- In the era of technology, new ways are being fel tower. The special characteristic of this artistic proj- developed in the communication field. Nowa- ect is that each virtual tree will grow in real life, planted days, light has been used in branding, advertise- in a reforestation program on 5 continents, so the virtu- ment and commercial field to a great extent. al becomes real. Throughout this research, it is visible that light has been used as a communication medium in so- As the artist says, “If we all connected, we can have ciopolitical, environmental and health aspects. a huge impact. We all have the power to inspire our In the future, the structure of the buildings will be future.” able to communicate messages through light, more than today. Thank you! Find the project: https://www.1heart- 1tree.org/cop21/live 106 CONCLUSION

Fig. 209: 1 heart 1 tree Fig. 211: 1 heart 1 tree process

Fig. 210: A project comprised of networks Fig. 212: 1 heart 1 tree 107 Fig. 213: IMAGING WHAT WE CAN DO, Videoloop Seoul Square 2011, German Media Art on Seoul Square Media Canvas, South Corea

108 7. BIBLIOGRAPHY

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Online sources: 11 Photo Right(Empire State Building) http://time. com/4791298/manchester-attack-eiffel-tower-land- Chapter 3: Background marks-dark/Photo Left(Eiffel Tower)http://www.dailymail. (https://www.ushio.com/product/uxl-xenon-short-arc/ accessed: co.uk/news/article-3016269/The-hour-Earth-went-dark- December 2017) Big-Ben-London-Eye-700-landmarks-plunged-darkness- (http://projection-mapping.org/ accessed: December 2017) world-millions-homes-switch-power-raise-awareness-cli- (http://www.colorkinetics.com/empire-state-building/ accessed: mate-change.html December 2017) 12.http://www.fredmiranda.com/forum/topic/1401027 (https://nei.nih.gov/healthyeyes/howwesee accessed: December 13. http://www.wbur.org/radioboston/2015/12/14/par- 2017) is-climate-accord 14. http://overpasslightbrigade.org/a-year-of-water- Chapter4: Case Study and-indigenous-struggle/ Further information for Project categories 4.1 (accessed: October, 15. http://www.dailymail.co.uk/news/article-3182740/ November 2017) Empire-State-Building-used-350-foot-tall-picture-Cecil- 1. http://www.welivehere2017.com.au/ Lion-endangered-animals-New-Yorkers-gather-streets- 2. http://theilluminator.org/sitting-ducks/ stunning-display.html 3. https://hyperallergic.com/116438/activists-take-protest-to-the-fa- 16. http://www.greenpeace.org/international/en/multi- cade-of-the-guggenheim-museum/ media/photos/ipad-gallery/Fukushima-Disaster-Third-An- 4. https://www.npr.org/sections/thetwo-way/2017/11/10/563424315/ niversary-Protest-in-Budapest/ spectacular-light-show-at-notre-dame-cathedral-commemo- 17. http://www.greenpeace.org/poland/pl/wydarzenia/ rates-world-war-i polska/Night-screening-at-Palace-of-Culture-in-Warsaw-- 5. https://www.huffingtonpost.com/entry/em- -Greenpeace-criticises-Trumps-anti-climate-policy/ pire-state-building-pink-international-womens-day_us_ 18. http://www.greenpeace.org/australia/en/mediacentre/ 58c0a0b3e4b0ed718269d4d3 media-releases/Sea-of-faces-projected-onto-coal-power- 6. http://www.dailymail.co.uk/news/article-4637918/US-monuments- plant-in-Germany-shows-emissions-dont-respect-national-bor- lit-rainbow-colors-honor-LGBT-pride.html ders/ 7. https://lightcollective.net/do/project_detail/project-resist 19. http://montrealgazette.com/news/world/paris-cli- 8. http://www.dailymail.co.uk/news/article-3232091/Tribute-Light- mate-pact-city-halls-monuments-around-the-world-light- shut-four-times-THOUSANDS-migrating-birds-trapped-like-moths- up-in-green powerful-beams-produced-Earth-commemorate-victims-9-11.html 20. https://www.theguardian.com/environment/gal- 9. https://www.nytimes.com/2017/11/01/us/vegas-victims-build- lery/2015/jun/12/the-fossil-fuel-divestment-movement- ings-lights.html top-10-campaign-stunts 10. http://www.dailymail.co.uk/news/article-3505434/One-World- 21. https://www.berlin.de/events/1697774-2229501- Trade-Center-New-York-lights-wrong-colors-world-mourns-Brussels- earth-hour-berlin.html terrorist-attack.html 22. http://www.dw.com/en/earth-hour-famous-land- marks-plunge-into-darkness-but-why/a-38073029 113 23. http://www.afconsult.com/en/do-business/ Further information for Selected projects 4.2 (accessed: October, No- our-services/infrastructure/lighting/lighting/proj- vember 2017) ects/greenpeace/ , http://plsn.com/international- news/14945-sgms-g-spot-led-moving-head-lights- 4.2.1: #welivehere2017 greenpeace-message.html - https://en.wikipedia.org/wiki/Waterloo,_New_South_Wales, viewed on 7 24.https://ww2.kqed.org/stateofhealth/2013/11/29/ November 2017 how-what-happened-in-san-francisco-led-to-world- -https://www.theguardian.com/australia-news/2017/jul/12/i-feel-on-the- verge-of-extinction-the-battle-for-sydneys-waterloo, viewed on 7 November aids-day/ 2017 25. https://www.facebook.com/GavriiLuxPhoto/ -http://www.smh.com.au/photogallery/nsw/we-live-here--the-residents-of- 26. http://theilluminator.org/visual-aids/ the-waterloo-community-in-sydney-20170906-gybz5f.html, viewed on 7 No- 27. http://www.avnersfoundation.org.au/news/gener- vember 2017 al/item/opera-house-being-lit-up-for-world-pancreat- -https://www.theguardian.com/artanddesign/2017/sep/06/these-are- ic-cancer-day peoples-homes-the-sydney-art-project-making-public-housing-glow?C- 28. https://www.youtube.com/watch?v=lkFD5p5mvRo MP=soc_567, viewed on 7 November 2017 29. https://www.autismspeaks.org/ -https://www.dailytelegraph.com.au/newslocal/central-sydney/water- 30. https://www.healthline.com/hlcmsre- loos-public-housing-residents-showcase-their-heart-through-film-and-art/ source/images/diabetesmine/wp-content/up- news-story/97690bff048406311f8cac8240f31f02?nk=447d1761b7889d3a9b- loads/2011/10/4109041354_06c69eedbf_b.jpg c3966a4213d9c5-1512638308, viewed on 7 November 2017 -http://www.welivehere2017.com.au/, viewed on 7 November 2017 -VIDEOS: https://vimeo.com/173305597

4.2.2: Trtibute in Light -http://gothamist.com/2017/09/11/tribute_in_light_returns_tonight.php#pho- to-3 -http://www.gustavobonevardi.com/public-art/tribute-in-light/ -http://people.com/human-interest/artists-behind-tribute-in-light-911-memori- al-continue-to-inspire-people-could-start-looking-up-again/ -http://www.dailymail.co.uk/news/article-3232091/Tribute-Light-shut-four- times-THOUSANDS-migrating-birds-trapped-like-moths-powerful-beams-pro- duced-Earth-commemorate-victims-9-11.html -http://www.slate.com/articles/arts/culturebox/2002/03/tribute_in_light_ex- plained.html -https://www.umass.edu/preservation/sites/default/files/sugarman-tribute-in- light.pdf -https://untappedcities.com/2011/09/11/tribute-in-light-illumination-be- hind-the-scenes/

114 BIBLIOGRAPHY 4.2.3: Projecting change -https://vimeo.com/135537038 -https://www.youtube.com/watch?v=w91i1X9UgrY&t=2666s -http://obscuradigital.com/work/racingextinction/ -http://www.opsociety.org/ -http://racingextinction.com/

4.2.4: Project Resist -https://lightcollective.net/do/project_detail/project-resist -http://www.configuringlight.org/activity/project-resist/ -https://www.youtube.com/watch?v=LMuvY79gJZg

4.2.5: Light it up Blue -https://www.autismspeaks.org/liub/how-to-liub -https://www.youtube.com/watch?v=SaZi04TMn5Q&t=1s -https://www.youtube.com/watch?v=Njg2ddggyTI -http://emea.rosco.com/en/light-it-up-blue

4.2.6: Earth Hour -https://www.smithsonianmag.com/smithsonian-institution/what-cli- mate-change-means-for-people-of-oceania-180954775/ -http://www.wwf.org.za/what_we_do/opcc/?13801/Earth-Hour-wrap -http://www.dw.com/en/earth-hour-famous-landmarks-plunge-into- darkness-but-why/a-38073029 -https://www.socialbakers.com/blog/2677-how-the-earth-hour-so- cial-campaign-made-a-real-impact -http://wwf.panda.org/?220312/REACTION-The-meaning-behind- Earth-Hour -https://econsultancy.com/blog/69105-three-social-media-lessons- from-wwf-s-earth-hour

Discussion http://www.esbnyc.com/explore/tower-lights

Conclusion https://www.1heart1tree.org/cop21/live

115 116 8. TABLE OF FIGURES

“Education is power. It is just like a light in complete darkness”.

Ziauddin Yousafzai, Diplomat

117 Fig.1: The earth. Retrieved from: http://www.modelstoglobe.com/ESW/Images/ Fig.25:LED RGB 5 M STRIP(...). Photo credits: Nic Walker . Retrieved from: http://www. Earth_Globe.png smh.com.au/photogallery/nsw/we-live-here--the-residents-of-the-waterloo- Fig.2: Protest for human rights. Photo credits: ©Linnete Bahati with Reuters, Re- community-in-sydney-20170906-gybz5f. trieved from: http://www.africanews.com/2016/09/22/student-protests-over-fee- Fig.26: Guerrilla Lighting Donostia 2015-torches, Retrieved from: https://lightcollec- hike-continue-in-south-africa/ tive. net/love/intervention Fig.3: Paris climate agreenment COP21, Retrieved: http://blogs.ei.columbia.edu/ Fig.27: Lighting projector, Photo credits: WENN.COM, Retrieved from: http:// wp-content/uploads/2015/12/Adoption-637x424.jpg www.dailymail.co.uk/news/article-3318549/Britain-s-communities-solidari- Fig.4: Media campaign for health, https://i.pinimg.com ty-France-wake-Paris-terror-attacks.html Fig.5: The era of technology. Retrieved: https://d2gg9evh47fn9z.cloudfront.net/ Fig.28: Tribute in Light, XENON lamps, Photo credits: Branden Klayko / AN Re- thumb_COLOURBOX11457255.jpg trieved from: https://archpaper.com/2013/09/pictorial-tribute-in-light-shines-bright- Fig.6: Technology. Retrieved from: http://scommerce.com/mobile-phone-tech- over-lower-manhattan/ nology-advantages-make-it-the-device-of-choice/ Fig.29: Projectors for Empire State Building projection, Photo credits: Obscura Fig.7: Light, Retrieved from: http://www.10wallpaper.com/view/Light-Abstract_ Digital, Retrieved from:http://obscuradigital.com/work/racingextinction/ design_wallpaper.html Fig.30: ColorReach Powercore, Philips color kinetics, http://www.colorkinetics. Fig.8: Thesis Structure graph ©Aikaterini Kolovea Varnava com/ls/rgb/colorreach/ Fig.9: Background research graph ©Aikaterini Kolovea Varnava Fig.31: Project categories graph ©Aikaterini Kolovea Varnava Fig.10: Eye and brain connection. Retrieved:https://www.brightfocus.org/sites/ Fig.32: #welivehere2017. Photo credit: Daily Telegraph. Retrieved from: default/files/styles/full_width/public/eye-brain-connection.jpg?itok=r1mqdq_2 https://www.dailytelegraph.com.au/newslocal/central-sydney/waterloos- Fig.11: Reading the image,Retrieved from: J. Monaco, How to read a film, p.194 public-housing-residents-showcase-their-heart-through-film-and-art/news-sto- Fig.12:Understanding the image,Retrieved: J Monaco, How to read a film, p.195 ry/97690bff048406311f8cac8240f31f02 Fig.13:What makes a great place?, Retrieved from: https://www.pps.org/refer- Fig.33: “Sitting Ducks”. Photo credit: TheIlluminator, Retrieved from: http://theil- ence/grplacefeat/ luminator.org/sitting-ducks/ Fig.14: Jane Jacobs protest, Retrieved: https://www.cnu.org/sites/default/files/ Fig.34: A projection on the facade of the New York Guggenheim Museum. styles/public_square_feature_image/public/jacobs-protest.jpg?itok=0Vhg1STy Photo credit: G.U.L.F., Retrieved from: https://hyperallergic.com/116438/activ- Fig.15: Kevin Lynch, Retrieved from: http://urbanwaterfront.blogspot.gr/2011/02/ ists-take-protest-to-the-facade-of-the-guggenheim-museum/ image-of-city.html Fig.35: The show celebrates (...). Photo credit: Christophe Ena/AP, Retrieved Fig.16: Communication graph, Retrieved from: http://makambaonline.com/ from: https://www.npr.org/sections/thetwo-way/2017/11/10/563424315/spec- wp-content/uploads/2017/02/10-top-communication-skills-for-professionals.jpg tacular-light-show-at-notre-dame-cathedral-commemorates-world-war-i Fig.17: Communication process,Image credits:Shutterstock.Retrieved:http://te- Fig.36: Empire State Building (...). Photo credit: MIKE SEGAR / REUTERS ,Re- chonomy.com/wp-content/uploads/2015/02/shutterstock_92733499-610x489.jpg trieved from: https://www.huffingtonpost.com/entry/empire-state-build- Fig.18: Media enrich expression of non-verbal communication. Retrieved: http:// ing-pink-international-womens-day_us_58c0a0b3e4b0ed718269d4d3 slideplayer.com/slide/9683949/31/images/1/The+Communication+Process.jpg Fig.37: “Minneapolis’ Lowry bridge (...). Photo credit: Sue Vruno, Retrieved Fig.19: Sense of community. Retrieved: http://realtrends.com/blog/wp-content/up- from: http://www.dailymail.co.uk/news/article-4637918/US-monuments-lit-rain- loads/2013/10/teamwork.jpg bow-colors-honor-LGBT-pride.html Fig.20: Students link arms and form a circle. Photo credits: ©Austin Anderson, Maryam Fig.38: Project Resist. Photo credit: Light Collective. Retrieved from: https:// Tunio, Retrieved from: https://marquettewire.org/3960105/news/students-stand-in-soli- lightcollective.net/do/project_detail/project-resist darity-during-community-of-feelings/#slideshow31680890 Fig.39: Tribute in Light, Photo credit: EPA, Retrieved from: http://www.dailymail. Fig.21: Sense of community in concerts. co.uk/news/article-3232091/Tribute-Light-shut-four-times-THOUSANDS-migrat- Fig.22: A stencil from (...).https://en.wikipedia.org/wiki/Artivism, public domain ing-birds-trapped-like-moths-powerful-beams-produced-Earth-commemorate- Fig.23: A Lighthouse for Lampedusa (...).Photo credits: Thomas Klipper Retrieved from: victims-9-11.html http://www.kilpper-projects.net/blog/?cat=3&paged=2 Fig.40: 230 Park Avenue (...).Photo credit: Noel Y. Calingasan.Retrieved from: Fig.24: Climate change(...).Photo credit: Flickr/Simon Leufstedt, CC BY-SA, Retrieved https://www.nytimes.com/2017/11/01/us/vegas-victims-buildings-lights.html by http://theconversation.com/why-do-some-controversies-persist-despite-the-evi- Fig.41: Belgian flag: The Eiffel Tower (...). Photo credit: EPA, Retrieved from: dence-28954 http://www.dailymail.co.uk/news/article-3505434/One-World-Trade-Center- New-York-lights-wrong-colors-world-mourns-Brussels-terrorist-attack.html 118 TABLE OF FIGURES Fig.42: Empire State Building. Photo credit: Inga Sarda-Sorensen , Retrieved Fig.56: San Francisco City Hall(...). Photo credit: Steve Jennings/Getty Imag- from: http://time.com/4791298/manchester-attack-eiffel-tower-land- es, Retrieved from: https://ww2.kqed.org/stateofhealth/2013/11/29/how- marks-dark what-happened-in-san-francisco-led-to-world-aids-day/ Fig.43: Eiffel Tower. Photo credit:AP/ Remy de la Mauviniere, Retrieved from: Fig.57: Athens polyclinic AIDS project, Photography: Gavriil Papadiotis http://www.dailymail.co.uk/news/article-3016269/The-hour-Earth-went-dark- (www.gavriiLux.com), Retrieved from: Gavriil Papadiotis Big-Ben-London-Eye-700-landmarks-plunged-darkness-world-millions-homes- Fig.58: “Visual Aids”, Photo credit: Theilluminator, Retrieved from: http://theil- switch-power-raise-awareness-climate-change.html12 luminator.org/visual-aids/ Fig.44: London Stands With Paris. Photo credit: David Gevert, Retrieved from: Fig.59: Opera House (...). Photo credit, Retrieved from: http://www.avners- http://www.fredmiranda.com/forum/topic/1401027 foundation.org.au/news/general/item/opera-house-being-lit-up-for-world- Fig.45: The Eiffel Tower (...). Photo credit: AP Francois Mori, Retrieved from: pancreatic-cancer-day http://www.dailymail.co.uk/wires/ap/article-3355568/The-Latest-French- Fig.60: Panathenaic stadium breast cancer, Kalimarmaro, Photo credit, Re- host-says-climate-talks-extend-1-day.html trieved from: https://www.youtube.com/watch?v=lkFD5p5mvRo Fig.46: Film “We Are Water”(...). Photo credits: overpasslightbrigade,Re- Fig.61: Light it up blue, Retrieved from: Autism Speaks trieved: http://overpasslightbrigade.org/a-year-of-water-and-indigenous- Fig.62: London Eye,Diabetes, Photo credit: IDF, Retrieved from: https://www. struggle/ healthline.com/hlcmsresource/images/diabetesmine/wp-content/up- Fig.47: Projecting change. Photo credits: Reuters , Retrieved from: http:// loads/2011/10/4109041354_06c69eedbf_b.jpg www.dailymail.co.uk/news/article-3182740/Empire-State-Building-used-350- Fig. 63: #welivehere2017, Photo credits: welivehere2017, Retrieved from: foot-tall-picture-Cecil-Lion-endangered-animals-New-Yorkers-gather-streets- http://www.welivehere2017.com.au/ stunning-display.html Fig. 64: #welivehere2017, Photo credits: Daily Telegraph. Retrieved from: Fig.48: Fukusima Disaster (...). Photo credit: © Dorgo Zsuzsi, Greenpeace, Re- https://www.dailytelegraph.com.au/ trieved: http://www.greenpeace.org/international/en/multimedia/photos/ Fig. 65: Turanga and Matavai towers. Photo credits: Jonny Weeks for the Guard- ipad-gallery/Fukushima-Disaster-Third-Anniversary-Protest-in-Budapest/ ian. Retrieved from: https://www.theguardian.com/australia-news/2017/jul/12/i- Fig.49: Greenpeace Polska. Photo credit: Konrad Konstantynowicz, Re- feel-on-the-verge-of-extinction-the-battle-for-sydneys-waterloo#img-3 trieved from: https://www.flickr.com/photos/greenpeacepl/35743018245/in/ Fig. 66: ‘These are people’s homes. (...)Photo credits: Jonny Weeks for the album-72157685909836865 Guardian. Retrieved from: https://www.theguardian.com/australia-news/2017/ Fig.50: Projection onto Coal (...). Photo credit: © Daniel Müller / Greenpeace jul/12/i-feel-on-the-verge-of-extinction-the-battle-for-sydneys-waterloo#img-3 , Retrieved from: http://media.greenpeace.org/archive/Projection-in-Ger- Fig. 67: I am Henry, (...). Photo credits: Nic Walker. Retrieved from: http://www.smh. man-onto-Coal-Power-Plant-Neurath-in-Germany-27MZIFJXX5N01.html com.au/photogallery/nsw/we-live-here--the-residents-of-the-waterloo-community-in-syd- Fig.51: The city hall of Paris (...). Photo credit: NADINE ACHOUI-LESAGE / AP, ney-20170906-gybz5f. Retrieved from: http://montrealgazette.com/news/world/paris-climate- Fig. 68: I’m Clive, (...). Photo credits: Nic Walker. Retrieved from: http://www.smh. pact-city-halls-monuments-around-the-world-light-up-in-green com.au/photogallery/nsw/we-live-here--the-residents-of-the-waterloo-communi- Fig.52: The Light Brigade, Photo credits: Overpass Light Brigade Retrieved ty-in-sydney-20170906-gybz5f.tml from: https://www.theguardian.com/environment/gallery/2015/jun/12/the- Fig. 69: World trade center 2000 from Jersey, Photo credits: Mark Len- fossil-fuel-divestment-movement-top-10-campaign-stunts nihan,AP, Retrieved from: https://www.usatoday.com/picture-gallery/ Fig.53: Earth Hour in Berlin (...). Photo credit: WWF/ P Jelinek, https://www. news/2015/09/10/world-trade-centers-painful-transformation-to-freedom-tow- berlin.de/events/1697774-2229501-earth-hour-berlin.html er/72016974/ Fig.54: Earth Hour in Athens (...). Photo credit: © JOHN KOLESIDIS/Reuters/ Fig. 70: New York times cover- Phantom Towers, Photo credits: Kathy Ryan, Corbis, Retrieved from: https://www.smithsonianmag.com/smithsonian-insti- Fred R. Conrad, Retrieved from: http://www.spd.org/2016/09/911-covers- tution/what-climate-change-means-for-people-of-oceania-180954775/ part-1-2001.php Fig.55: “Greenpeace Danmark“. Photo credit: Christian Aslund, Retrieved Fig. 71: Tribute in Light 2011, Photo credits: Seth Cohen. Retrieved from: http:// from: http://www.afconsult.com/en/do-business/our-services/infrastructure/ www.gustavobonevardi.com/public-art/tribute-in-light/ lighting/lighting/projects/greenpeace/ Fig. 72: Tribute in Light, Photo credits: Untapped Cities by Michelle Young, Retrieved from: https://untappedcities.com/2011/09/11/tribute-in-light-illumi- nation-behind-the-scenes/ 119 Fig. 73: Tribute in Light, Photo credits: Untapped Cities by Michelle Young, Fig. 93: Earth Hour, Photo credits: WWF, Retrieved from: http://wwf.panda.org/ Retrieved from: https://untappedcities.com/2011/09/11/tribute-in-light-illumina- how_you_can_help/earth_hour_2017/ tion-behind-the-scenes/ Fig. 94: Earth Hour Berlin 2015, Photo credits: WWF, P.Jelinek, Retrieved from: Fig. 74: A 2013 photograph of one of the lights. Photo credits: Paul Ker. Retrieved https://www.berlin.de/events/1697774-2229501-earth-hour-berlin.html from: http://gothamist.com/2017/09/11/tribute_in_light_returns_tonight.php#photo-3 Fig. 95: Earth Hour - The Eiffel Tower, Paris, Photo credits: Getty image. Retrieved Fig. 75: Projecting change (...). Photo credits: Joshua Brott, Obscura Digital, from: http://www.mirror.co.uk/science/what-earth-hour-2017-how-10034632 Retrieved from: http://obscuradigital.com/work/racingextinction/ Fig. 96: Earth Hour, Photo credits: WWF, Retrieved from: https://www.thewrap. Fig. 76: Projecting change (...). Photo credits: Joshua Brott, Obscura Digital, Re- com/what-is-earth-hour-and-why-are-all-the-lights-off/ trieved from: http://obscuradigital.com/work/racingextinction/ Fig. 97: Social Media,(...) Photo credits & Retrieved from: https://www.socialbak- Fig. 77: Projecting change (...). Photo credits: Joshua Brott, Obscura Digital, Re- ers.com/blog/2677-how-the-earth-hour-social-campaign-made-a-real-impact trieved from: http://obscuradigital.com/work/racingextinction/ Fig. 98: La Sagrada Familia, (...). Photo credits: AP Photo/David Ramos. Retrieved Fig. 78: Projecting change (...). Photo credits: Obscura Digital, Retrieved from: from: http://austin.blog.statesman.com/2016/03/19/earth-hour-2016-being-green- https://i.ytimg.com/vi/9FttNi9-S1E/maxresdefault.jpg on-social-media-and-in-real-life/ Fig. 79: Projecting change (...). Photo credits: Joshua Brott, Obscura Digital, Re- Fig. 99: Experts interview groups, graph trieved from: http://obscuradigital.com/work/racingextinction/ Fig. 100: Nikos Charalambides Fig. 80: Projecting change (...). Photo credits: Joshua Brott, Obscura Digital, Re- Fig. 101: Greenpeace projection in Rhodos, Greece, Photo credits: Greenpeace/ trieved from: http://obscuradigital.com/work/racingextinction/ Stevi Panayotaki, Retrieved from: Nikos Charalambides Fig. 81: Project Resist, Photo credits: Configuring light, Lighting collective,Re- Fig. 102: Greenpeace projection in Acropolis,1997, photo credits: Prisma/Kara- trieved from: http://www.configuringlight.org/activity/project-resist/ gianis, Retrieved from: Nikos Charalambides Fig. 82: Project Resist, Photo credits: Configuring light, Lighting collective,Re- Fig. 103: Projection onto Coal (...). Photo credit: © Daniel Müller / Greenpeace trieved from: http://www.configuringlight.org/activity/project-resist/ , Retrieved from: http://media.greenpeace.org/archive/Projection-in-Ger- Fig. 83: Project Resist, Photo credits: Configuring light, Lighting collective,Re- man-onto-Coal-Power-Plant-Neurath-in-Germany-27MZIFJXX5N01.html trieved from: http://www.configuringlight.org/activity/project-resist/ Fig. 104: May 2017, Greenpeace protest Eiffel Tower, Photo credits: Global news, Fig. 84: Project Resist, Photo credits: Configuring light, Lighting collective,Re- Retrieved from https://globalnews.ca/news/3429184/greenpeace-eiffel-tow- trieved from: http://www.configuringlight.org/activity/project-resist/ er-french-vote/ Fig. 85: Event poster, Retrieved from: http://www.lse.ac.uk/sociology/events/Resist- Fig. 105: Expose the true cost (...).Photo credit: © Greenpeace / Ardiles Rante, Festival-of-Ideas-and-Actions.aspx Retrieved from: http://www.greenpeace.org/international/en/multimedia/pho- Fig. 86: Project Resist, Photo credits: Configuring light, Lighting collective,Re- tos/12-february-2009-cilacap-cent/ trieved from: https://lightcollective.net/do/project_detail/project-resist Fig. 106: Stopping the Russian ship (...). Copyright: © Greenpeace, Zwaneveld, Fig. 87: Autism Speaks #lightitupblue campaign, Photo credits: Autism Speaks, Retrieved from: https://www.flickr.com/photos/giona/223094087 Retrieved from: https://www.autismspeaks.org Fig. 107: © Emilios Vougiouklakis Fig. 88: This blue crew (...). Photo credits: Autism Speaks, Retrieved from: https:// Fig. 108: Logo Municipality of Glyfada, Retrieved from: http://www.glyfada.gr www.autismspeaks.org/liub/how-to-liub Fig. 109: © Marios P. Tsakas Fig. 89: Sagrada Familia (...). Photo credits: Autism Speaks. Retrieved from: https:// Fig. 110: New playground in Glyfada City, Greece, photo credits: Municipality of www.autismspeaks.org/news/news-item/global-landmarks-light-it-blue-world-autism- Glyfada, Retrieved from: https://www.facebook.com/MunicipalityofGlyfada/ awareness-day-2015 Fig. 111: Collect Olives event, Glyfada City, Greece, photo credits: Municipality of Fig. 90: LOGO Autism Speaks, Photo credits: Autism Speaks. Retrieved from: Glyfada, Retrieved from: https://www.facebook.com/MunicipalityofGlyfada/ https://www.autismspeaks.org/sites/all/themes/roots/sprout/img/liub/liub_2017.png Fig. 112: Summer concert 2017 Glyfada City, Greece, photo credits: Municipality of Fig. 91: Sydney Opera House, Photo credits: Autism Speaks. Re- Glyfada, Retrieved from: https://www.facebook.com/MunicipalityofGlyfada/ trieved from: https://changebydoing.files.wordpress.com/2011/04/cus- Fig. 113: Summer concert 2017 Glyfada City, Greece, photo credits: Municipality of tom_1249637841278_89630934.jpg Glyfada, Retrieved from: https://www.facebook.com/MunicipalityofGlyfada/ Fig. 92: Screenshot from ROSCO website, Retrieved from: http://emea.rosco.com/ Fig. 114: Food and Medicine (...). Photo credits: Municipality of Glyfada, Retrieved en/light-it-up-blue from: https://www.facebook.com/MunicipalityofGlyfada/

120 TABLE OF FIGURES Fig. 115: Summer concert 2017 Glyfada City, Greece, Photo credits: Municipality Fig. 136: Workshop Acland Burghley, photo credits: Configuring Light, Retrieved of Glyfada, Retrieved from: https://www.facebook.com/MunicipalityofGlyfada/ from: http://www.configuringlight.org/activity/international-workshop-series/ Fig. 116: Summer concert 2017 Glyfada City, Greece, photo credits: Municipality Fig. 137: Guerrilla Lighting Donostia 2015(...). Retrieved from: https://lightcollective. of Glyfada, Retrieved from: https://www.facebook.com/MunicipalityofGlyfada/ net/love/intervention Fig. 117: Christmas lighting decorations City Hall 2017 Glyfada City, Greece, Pho- Fig. 138: Whitecross workshop, Photo credits: light follows behaviour, Retrieved to credits: Municipality of Glyfada, Retrieved from: https://www.facebook.com/ from: http://lightfollowsbehaviour.com/portfolio/whitecross-workshop/ MunicipalityofGlyfada/ Fig. 139: Whitecross Workshop, photo credits: Catarina Heeckt, Retrieved from: Fig. 118: Christmas lighting decorations 2017 Glyfada City, Greece, photo credits: http://www.configuringlight.org/activity/urban-lightscapes/ Municipality of Glyfada, Retrieved from: https://www.facebook.com/Municipali- Fig. 140: Project Resist, Photo credits: Configuring light, Lighting collective,Re - tyofGlyfada/ trieved from: http://www.configuringlight.org/activity/project-resist/ Fig. 119: © The Illuminator Fig. 141: © Charles G. Stone II Fig. 120: OWS BAT SIGNAL Photo credit: the illuminator. Retrieved from: http://thei- Fig. 142: Tribute in Light installation, (...). Photo credit: Adam Rothschild, Retrieved lluminator.org/ from http://www.fmsp.com Fig. 121: The Illuminator projected “Koch (...). Photo credit: Occupy Fig. 143: The cathedral of light (...). Retrieved from By Bundesarchiv, Bild 183-1982- Museums https://hyperallergic.com/209080/members-of-the-illumina- 1130-502 / CC-BY-SA 3.0, CC BY-SA 3.0 de, https://commons.wikimedia.org/w/ tor-sue-nypd-for-false-arrest-first-amendment-retaliation/ index.php?curid=5342072 Fig. 122: The Illuminator van with one of its projections, Photo credit: the Illumina- Fig. 144: Celebration of Victory (...). Photo credit: Sergei Loskutov/Waralbum.ru,Re- tor group, Retrieved from: https://hyperallergic.com/56381/the-power-of-mo- trieved from https://www. theatlantic.com/ photo/2011/10/world-war-ii-the-fall-of- nazi-ger- bile-guerrilla-light-projections/ many/100166/ Fig. 123: © Leni Schwendinger Fig. 145: Tribute in Light installation, New York, photo from above. Photo credit: Josi Fig. 124: © Logo Nightseeing Proulx, Retrieved from Josi Proulx Fig. 125: Triple Bridge Gateway, Photo credit: ArchPhoto, Retrieved from: Fig. 146: Tribute in Light installation, New York, photo from side. Photo credit: Josi https://lenischwendinger.com/tag/terminal/ Proulx, Retrieved from Josi Proulx Fig. 126: Port of San Diego, photo credits: © Leni Schwendinger, Retrieved from: Fig. 147: © Logo - Light Collective https://www.architonic.com/en/project/leni-schwendinger-light-projects-tidal-ra- Fig. 148: © Logo - #Welivehere2017 diance/5101088 Fig. 149: #welivehere2017, Australia. Photo credit:#welivehere2017, Retrieved from Fig. 127: Dreaming in Color, photo credits: Copyright 2003 Archiphoto/Eduard http://www.welivehere2017.com.au/ Hueber, Retrieved from: http://www.landscapeonline.com/research/article-a. Fig. 150: #welivehere2017 from far, Photo credit: welivehere2017, Retrieved from https:// php?number=4249 www.instagram.com/p/BaCseEoFnS9/?tagged=welivehere2017 Fig. 128: Breathing Lights project New York, Photo credits: Mike Groll/AP Fig. 151: Collage #welivehere2017, Photo credit: massivefards, Retrieved from Retrieved from: https://www.citylab.com/equity/2017/04/learning-from-two- https://www.instagram.com/p/BaJW_PJgJ0Z/?tagged=welivehere2017 months-of-illuminating-abandoned-homes/523317/ Fig. 152: © Logo OPS, Oceanic Preservation Society Fig. 129: Chroma Streams; Tide and Traffic, photo credits: Steve Hosey, Fig. 153: Projecting Change: the Empire State Building. Photo credit:Oceanic Glasgow City Council/ Retrieved from: http://www.glasgowarchitecture. Preservation Society , Retrieved directly from OPS. co.uk/kingston-bridge-glasgow Fig. 154: Vatican project during the COP21 conference in Paris. Photo credit: Oce- Fig. 130: Kingston Bridge,Glasgow, Scotland, Chroma Streams; Tide and Traffic. anic Preservation Society , Retrieved directly from OPS. Retrieved from: Leni Schwendinger Fig. 155: UN Rendering. Photo credit: Oceanic Preservation Society , Retrieved Fig. 131: © Dr. Elettra Samira Bordonaro directly from OPS. Fig. 132: © Dr. Don Slater Fig. 156: © Logo Autism Speaks Fig. 133: © Logo: Light Follows Behavior Fig. 157: Autism speaks Canada. Photo credits:autism speaks Retrieved from Fig. 134: © Logo: Configuring Light http://asca.convio.net/site/TR/Events/General?fr_id=1466&pg=entry#. Fig. 135: Workshop Acland Burghley, Photo credit: Configuring Light, Retrieved Wig-hEqWZPY from: http://www.configuringlight.org/activity/international-workshop-series/ Fig. 158: Autism speaks walk. Photo credits: Chris Shipley/The Morning Call, Retrieved fromhttp://www.mcall.com/health/mc-autism-speaks-walk-lehigh- valley-preview-20170417-story.html 121 Fig. 159: Light it up Blue campaign. Photo credits: Autism Speaks, Retrieved from http:// Fig. 176: Earth Hour - The Eiffel Tower, Paris, Photo credits: Getty image. blog.theautismsite.com/april-2nd-light-it-up-blue/ Retrieved from: http://www.mirror.co.uk/science/what-earth-hour-2017- Fig.160: Tour Eiffel bleue - Blue Eiffel tower (...). Photo credits:Yann Caradec, how-10034632 Retrieved from https://www.flickr.com/photos/10288162@N07/2874149392 Fig. 177: Screenshot from the LIGHT CALENDAR, Retrieved from http://www. Fig. 161: London Eye,Diabetes, Photo credit: IDF, Retrieved from: https:// esbnyc.com/explore/tower-lights/calendar www.healthline.com/hlcmsresource/images/diabetesmine/wp-content/up- Fig. 178: Screenshot from the LIGHT CALENDAR, Retrieved from http://www. loads/2011/10/4109041354_06c69eedbf_b.jpg esbnyc.com/explore/tower-lights/calendar Fig. 162: Basilica Sagrada Familia, Awareness for autism. Photo credits: Autism Fig. 179: US Elections 2016 CNN. Photo credits: Jeff Grossman/WENN.com, Speaks. Retrieved from: https://www.autismspeaks.org/news/news-item/global- Retrieved from http://www.dailymail.co.uk/news/article-3918754/Lighting- landmarks-light-it-blue-world-autism-awareness-day-2015 election-Empire-State-Building-turns-live-results-tracker-dazzling-display-Hil- Fig. 163: New York’s Empire State Building(...).Photo credits: China Plus/Qian Shan- lary-Trump-face-race-White-House.html ming, Retrieved from: http://chinaplus.cri.cn/news/world/10/20170521/5004.html Fig. 180: US Elections 2016 CNN : Obscura Digital, Retrieved from http:// Fig. 164: Blue light as Barack Obama (...).Photo credits: Getty Images, Retrieved www.dailymail.co.uk/news/article-3918754/Lighting-election-Empire-State- from: http://www.dailymail.co.uk/news/article-2228952/US-Election-2012-results-Em- Building-turns-live-results-tracker-dazzling-display-Hillary-Trump-face-race- pire-State-Building-turns-blue-President-Obama-wins.html, White-House.html Fig. 165: Students protest (...). Photo credits: Mike Hutchings / Reuters, Retrieved from Fig. 181: Image for International Women’s Day : Empire State Building, http://www.rediff.com/getahead/report/specials-south-african-mayor-awards-scholar- Retrieved from http://mashable.com/2017/03/08/empire-state-build- ships-to-virgin-women/20160125.htm ing-pink/#AJB7DTKcJ8qu Fig. 166: Greenpeace using paint to write GO SOLAR in Greece. Retrieved from: http:// Fig. 182: Rainbow for Gay Pride in ESB, Retrieved from https://www.esbnyc. www.rematia.gr/tag/go-solar/ com/tower-lighting-2017-06-25-000000 Fig. 167: May 2017, Greenpeace protest Eiffel Tower. Photo credits: Global news, Re- Fig. 183: Dark Empire State Building, Photo credit: Inga Sarda-Sorensen , Re- trieved from https://globalnews.ca/news/3429184/greenpeace-eiffel-tower-french-vote/ trieved from: http://time.com/4791298/manchester-attack-eiffel-tower-land- Fig. 168: The first hologram protest in Spain 2015. Photo credits: AFP/Getty Images, marks-dark/ Retrieved fromhttp://www.dailymail.co.uk/news/article-3038317/The-world-s-HOLO- Fig. 184: Rødovre Water Tower, Denmark, Photo credit: ÅF Lighting/Frederik GRAM-protest-Thousands-join-virtual-march-Spain-against-law-banning-demonstrations- Waneck Borello, Retrieved from: https://www.facebook.com/AFLighting/ outside-government-buildings.html Fig. 185: Rødovre Water Tower, Denmark, Photo credit: ÅF Lighting/Frederik Fig. 169: Occupy Bat signal for the 99%., Retrieved from https://www.youtube.com/ Waneck Borello, Retrieved from: https://www.facebook.com/AFLighting/ watch?v=n2-T6ox_tgM Fig. 186: Rødovre Water Tower, Denmark, Photo credit: ÅF Lighting/Frederik Fig.170: A slogan referring to the COP21(...). Photo credits: Michel Euler / AP, Retrieved Waneck Borello, Retrieved from: https://www.facebook.com/AFLighting/ from https://www.commondreams.org/views/2015/12/07/apocalyptic-capitalism Fig. 187: Rødovre Water Tower, Denmark, Photo credit: ÅF Lighting/Frederik Fig. 171: Athens polyclinic AIDS project, Photography: Gavriil Papadiotis (www. Waneck Borello, Retrieved from: https://www.facebook.com/AFLighting/ gavriiLux.com), Retrieved from: Gavriil Papadiotis Fig. 188: Rødovre Water Tower, Denmark, Photo credit: ÅF Lighting/Frederik Fig. 172: San Francisco City Hall(...). Photo credit: Steve Jennings/Getty Images, Waneck Borello, Retrieved from: https://www.facebook.com/AFLighting/ Retrieved from: https://ww2.kqed.org/stateofhealth/2013/11/29/how-what- Fig. 189: “Visual Aids”, Photo credit: Theilluminator, Retrieved from: http:// happened-in-san-francisco-led-to-world-aids-day/ theilluminator.org/visual-aids/ Fig. 173: “Visual Aids”, Photo credit: Theilluminator, Retrieved from: http://theillu- Fig. 190: Belgian flag: The Eiffel Tower (...). Photo credit: EPA, Retrieved from: minator.org/visual-aids/ http://www.dailymail.co.uk/news/article-3505434/One-World-Trade-Center- Fig.174: Empire State Building. Photo credit: Inga Sarda-Sorensen , Retrieved New-York-lights-wrong-colors-world-mourns-Brussels-terrorist-attack.html from: http://time.com/4791298/manchester-attack-eiffel-tower-landmarks-dark Fig. 191: “Minneapolis’ Lowry bridge (...). Photo credit: Sue Vruno, Retrieved Fig.175: Eiffel Tower. Photo credit:AP/ Remy de la Mauviniere, Retrieved from: from: http://www.dailymail.co.uk/news/article-4637918/US-monuments-lit- http://www.dailymail.co.uk/news/article-3016269/The-hour-Earth-went-dark- rainbow-colors-honor-LGBT-pride.html Big-Ben-London-Eye-700-landmarks-plunged-darkness-world-millions-homes- Fig. 192: Project Resist. Photo credit: Light Collective. Retrieved from: https:// switch-power-raise-awareness-climate-change.html12 lightcollective.net/do/project_detail/project-resist

122 TABLE OF FIGURES Fig. 193: #welivehere2017. Photo credit: Daily Telegraph. Retrieved from: https://www.dailytelegraph.com. au/newslocal/central-sydney/waterloos-public-housing-residents-showcase-their-heart-through-film-and-art/ news-story/97690bff048406311f8cac8240f31f02 Fig. 194: Tribute in Light, Photo credit: EPA, Retrieved from: http://www.dailymail.co.uk/news/article-3232091/ Tribute-Light-shut-four-times-THOUSANDS-migrating-birds-trapped-like-moths-powerful-beams-produced-Earth- commemorate-victims-9-11.html Fig. 195: Tribute in Light, Photo credit: EPA, Retrieved from: http://www.dailymail.co.uk/news/article-3232091/ Tribute-Light-shut-four-times-THOUSANDS-migrating-birds-trapped-like-moths-powerful-beams-produced-Earth- commemorate-victims-9-11.html Fig. 196: Tribute in Light, Photo credit: EPA, Retrieved from: http://www.dailymail.co.uk/news/article-3232091/ Tribute-Light-shut-four-times-THOUSANDS-migrating-birds-trapped-like-moths-powerful-beams-produced-Earth- commemorate-victims-9-11.html Fig. 197: La Sagrada Familia, (...). Photo credits: AP Photo/David Ramos. Retrieved from: http://austin.blog.states- man.com/2016/03/19/earth-hour-2016-being-green-on-social-media-and-in-real-life Fig. 198: Sagrada Familia Barcelona Autism Awareness day, Photo credits: Autism Speaks. Retrieved from: https://www.autismspeaks.org/news/news-item/global-landmarks-light-it-blue-world-autism-awareness- day-2015 Fig. 199: Modern media. Retrieved from: http://ilead.net.in/blog/wp-content/uploads/2017/11/newsmedia.png Fig. 200: Social Media, Retrieved from: http://birdherd.com/wp-content/uploads/2013/09/socialbranding-534x280.png Fig. 201: Modern media. Retrieved from: https://www.holmesreport.com/images/default-source/04-article-images/ge- neric-images/eu-media-futures-forum-pic_0.jpg Fig. 202: Hitler delivering his speech (...). Retrieved from: https://rarehistoricalphotos.com/nazi-rally-cathe- dral-light-c-1937/ Fig. 203: Nazi rally in the Cathedral of Light, 1937. Retrieved from: https://rarehistoricalphotos.com/nazi-rally-cathe- dral-light-c-1937/ Fig. 204: The cathedral of light was (...). Retrieved from: https://rarehistoricalphotos.com/nazi-rally-cathe- dral-light-c-1937/ Fig. 205: What is a language? Photo Credit: tushchakorn / 123RF Stock Photo, https://www.daytranslations.com/ blog/2015/09/4-reasons-to-learn-american-sign-language-asl-to-advance-in-any-career-6754 Fig. 206: Language, emotions and symbols, Retrieved from: http://holapeople.co.uk/blog/9-ways-learn-language- fast/ Fig. 207: Sign language: Image Credit: magic pictures, Retrieved from: https://venturebeat.com/2017/10/23/marketing-lan- guage-the-emotions-and-symbols-that-work-best/ Fig. 208: Body language, Retrieved from: https://lonerwolf.com/body-language/ Fig. 209: 1 heart 1 tree, Photo Credit: Naziha Mestaoui, Retrieved from: https://www.lightzoomlumiere.fr/article/1- heart-1-tree-pour-la-cop21-sur-la-tour-eiffel/ Fig. 210: A project comprised of networks, Photo Credit: Naziha Mestaoui, Retrieved from: http://beautiful-lands. com/images/posts/OneHeartOneTree4.jpg Fig. 211: 1 heart 1 tree process, Photo Credit: Naziha Mestaoui, Retrieved from: https://www.1heart1tree.org Fig. 212: 1 heart 1 tree, Photo Credit: Naziha Mestaoui, Retrieved from: https://www.facebook.com/1heart1tree/ Fig. 213: Videoloop Seoul Square 2011, German Media Art on Seoul Square Media Canvas, South Corea, Re- trieved: http://neu2.corinnaschnitt.de/LightNEasy.php?page=2011howareyou, https://www.youtube.com/ watch?v=sHb3xjEpApU

123 124 9. APPENDIX

“As we let our own light shine, we unconsciously give other people permission to do the same”.

Nelson Mandela, Political leader & Philanthropist

125 Katia Kolovea 9.1 Experts Interviews Master Thesis Student KTH Royal Institute of Technology, School of Architecture and Built questionnaires A, B Environment, Stockholm MSc. Architectural Lighting Design 2017-2018

Dear Sir/ Madam,

Thank you very much for your precious contribution to the research and your time to re- spond to this interview. The experts interview is part of my qualitative research method for my Master Thesis in KTH. The aim of the research is to explore Light as a medium for com- munication and social engagement in the urban space, focusing on the non-commercial mission of light.

With your participation, you agree that the interview will be recorded(only for skype/face to face interviews), in order to facilitate the processing of information provided. You as well agree that the answers/ or part of the answers will be published in the thesis and your name, a headshot and your profession title will be displayed.

INTERVIEW QUESTIONS: GREENPEACE,

1. Why are events important in a local and global community? Which is the most important goal of Greenpeace events?

2. How have your events impacted the local community?

3. Are there any difficulties that you have faced on your events?

4. What are the characteristics that an event must have in order to engage the community? Is there a goal to create a “community effect” ?

5. In which extent do you think the broadcast media like television, internet and social media influence the success of an event?

6. How do you measure the success and impact of an event to the community?

7. There are examples, where Greenpeace have used light and more specifically video/light projection in order to communicate a message and provide information to the community. Why are you using light as a medium to protest?

8. Do you think that light creates a different, and possibly more powerful impact to people com- pared to other mediums? Why or why not?

9. What is your opinion for the potential of light as a tool to create awareness in general? Do you think that this could be the future of a peaceful and impactful protest? If so,why?

126 APPENDIX

Katia Kolovea Katia Kolovea Master Thesis Student Master Thesis Student KTH Royal Institute of Technology, KTH Royal Institute of Technology, School of Architecture and Built School of Architecture and Built Environment, Stockholm Environment, Stockholm MSc. Architectural Lighting Design MSc. Architectural Lighting Design 2017-2018 2017-2018

Dear the Illuminator, Dear Sir/ Madam,

Thank you very much for your precious contribution to the research and your time to re- Thank you very much for your precious contribution to the research and your time to re- spond to this interview. The experts interview is part of my qualitative research method for spond to this interview. The experts interview is part of my qualitative research method for my Master Thesis in KTH. The aim of the research is to explore Light as a medium for com- my Master Thesis in KTH. The aim of the research is to explore Light as a medium for com- munication and social engagement in the urban space, focusing on the non-commercial munication and social engagement in the urban space, focusing on the non-commercial mission of light. mission of light.

With your participation, you agree that the interview will be recorded(only for skype/face With your participation, you agree that the interview will be recorded(only for skype/face to face interviews), in order to facilitate the processing of information provided. You as to face interviews), in order to facilitate the processing of information provided. You as well agree that the answers/ or part of the answers will be published in the thesis and your well agree that the answers/ or part of the answers will be published in the thesis and your name, a headshot and your profession title will be displayed. name, a headshot and your profession title will be displayed.

INTERVIEW QUESTIONS: The Illuminator group, NY, USA INTERVIEW QUESTIONS: Municipality of Glyfada, Athens, Greece

1. In your opinion why are events important in a local community?Which is the main goal of During these years, you have been organizing many events in the urban space using light these events? projection as a medium of communication and protest. 2. Let’s choose a specific event that you did recently. How has your event impacted the local community positively? 1. How your perception and strategy to interfere with the public have changed within the years? 3. Are there any negative impacts that your event could have caused on the local communi- ty(ex. noise,lights etc.) or difficulties that you faced on the event preparation? 2. What are the characteristics of an event in order to achieve the most effective engagement with the audience? 4. What are the characteristics that an event must have in order to engage and inspire the com- munity? Is there a goal these events to create a “community effect”? 3. How can you measure the success/ impact of an event to the community? 5. From your experience in which extent do you think that the broadcast media like television, 4. Have you noticed any change on the way that the local community reacts to your events internet/ social media can influence the success of an event? today compared to some years ago? 6. There are scientific studies that show that light can influence the mood and the decision mak- 5. In your opinion why light can be an impactful medium to communicate messages, provide ing of people. Can you imagine how light could be used as a medium for engaging the commu- information, create awareness and connect people in the urban space? nity in a political conversation and communication?

6. What is the core idea behind your decision to use light as a medium to protest? 8. By observing these successful existing projects, where light have been used as a medium to create awareness for environmental/health issues, could you imagine using light in a specific 7. How important is to surprise the public in order to create a stronger impact? public celebration? What difficulties/ challenges you may see in the first stage?

8. In which extent do you think the broadcast media like television, internet/ social media 9. Should we set some regulations or is it a medium that can be used freely since it doesn’t de- influence the success of your event? Would it be possible the fame of your events to travel stroy the physical environment? worldwide without the media? 10. How would you react if somebody else, like a Non-governmental organization or random people, would use light to highlight a problem of the municipality or protest against your policies?

127 Katia Kolovea Katia Kolovea Master Thesis Student Master Thesis Student KTH Royal Institute of Technology, KTH Royal Institute of Technology, School of Architecture and Built School of Architecture and Built Environment, Stockholm Environment, Stockholm MSc. Architectural Lighting Design MSc. Architectural Lighting Design 2017-2018 2017-2018

Dear Ms. Elettra Bordonaro, Dear Leni Schwendinger, Dear Mr. Don Slater, Thank you very much for your precious contribution to the research and your time to re- Thank you very much for your precious contribution to the research and your time to re- spond to this interview. The experts interview is part of my qualitative research method for spond to this interview. The experts interview is part of my qualitative research method for my Master Thesis in KTH. The aim of the research is to explore Light as a medium for com- my Master Thesis in KTH. The aim of the research is to explore Light as a medium for com- munication and social engagement in the urban space, focusing on the non-commercial munication and social engagement in the urban space, focusing on the non-commercial mission of light. mission of light. With your participation, you agree that the interview will be recorded(only for skype/face With your participation, you agree that the interview will be recorded(only for skype/face to face interviews), in order to facilitate the processing of information provided. You as to face interviews), in order to facilitate the processing of information provided. You as well agree that the answers/ or part of the answers will be published in the thesis and your well agree that the answers/ or part of the answers will be published in the thesis and your name, a headshot and your profession title will be displayed. name, a headshot and your profession title will be displayed.

INTERVIEW QUESTIONS: Elettra Bordonaro, Don Slater: INTERVIEW QUESTIONS: Leni Schwendinger, NY, USA

1. How can light inspire a group of people to take action for a social issue? 1. How light can be used as a communication tool in the urban space?

2. Why do people use light to communicate a message? 2. Do you think that light can be an impactful medium for engaging the community in a political conversation? (For Example: #welivehere,australia,activism & light: Light art in the Urban space can provoke dialogue between the municipality and the citizens) 3. Would an instant transformation compared to a long-term transformation, have the same impact to people?

3. In which extent, the cultural and social background of the audience Influences the way they perceive the message of the lighting installation? Could we say that light is a global 4. Could we say that people react more in colors in the urban space? Is color necessary to medium? create an impact with a lighting installation?

4. Could we say that people react more in colors in the urban space ? What is the impor- 5. Could we speak for global impact? Does light have an international character? tance of color light in the urban space?

5a. Does it need to be a recognized landmark to get the message across or can it be any ordinary building? 5b. What is the level of importance of the location of an installation?

128 APPENDIX

9.2 Experts Interviews Katia Kolovea Master Thesis Student KTH Royal Institute of Technology, questionnaires C- School of Architecture and Built Environment, Stockholm MSc. Architectural Lighting Design case studies 2017-2018 Dear Sir/ Madam,

Thank you very much for your precious contribution to the research and your time to re- spond to this interview. The experts interview is part of my qualitative research method for my Master Thesis in KTH. The aim of the research is to explore Light as a medium for com- munication and social engagement in the urban space, focusing on the non-commercial mission of light.

With your participation, you agree that the interview will be recorded(only for skype/face to face interviews), in order to facilitate the processing of information provided. You as well agree that the answers/ or part of the answers will be published in the thesis and the name of the organization, a logo, your title and a short bio will be displayed.

INTERVIEW QUESTIONS: Autism Speaks organization, United States

1.a. What was the core idea of using LIGHT as a medium and create the campaign “Light it up Blue”? b. When was the initial day for the “light it up blue” campaign?

2. a. Is blue light considered as a symbol? b. In which extent people can make the connection: BLUE LIGHT= AUTISM?

3. Do you consider the “Light it up Blue” campaign as an extra event during the awareness day or as the basic event with the biggest impact to people’s minds compared to other autism awareness day events?

4. What are the advantages of the use of light in this campaign compared to other media like posters, television advertisement, run races, and more?

5. a. In which extent do you think the broadcast media like television, internet/ social media have influenced the success of this global light it up blue campaign? b. Would it be possible to act globally without this mass communication system? c. Are the Media compulsory in order to share an event and affect the global community?

6. Do you think that the impact on people’s minds is the same when they experience an ordinary building lighted up blue compared to a famous landmark? Does the architecture and the history of the building/ bridge/ landmark play an important role on people’s engagement?

7. Do you think that the impact of the autism awareness could be stronger into the global communi- ty, if the event was taking place for a longer period of time (not only one day per year)?

8. In which extent do you believe that the “light it up blue” event, that takes part only at night, is more impactful and unforgettable as an experience to people’s mind than a poster campaign or a televi- sion advertisement that runs in the whole day?

9. How would you answer in the perspective that the light could be used as a tool/ medium for communication, which is able to inspire and transfer ideas to the community?

129 Katia Kolovea Katia Kolovea Master Thesis Student Master Thesis Student KTH Royal Institute of Technology, KTH Royal Institute of Technology, School of Architecture and Built School of Architecture and Built Environment, Stockholm Environment, Stockholm MSc. Architectural Lighting Design MSc. Architectural Lighting Design 2017-2018 2017-2018

Dear Sir/ Madam, Dear Sir/ Madam,

Thank you very much for your precious contribution to the research and your time to re- Thank you very much for your precious contribution to the research and your time to re- spond to this interview. The experts interview is part of my qualitative research method for spond to this interview. The experts interview is part of my qualitative research method for my Master Thesis in KTH. The aim of the research is to explore Light as a medium for com- my Master Thesis in KTH. The aim of the research is to explore Light as a medium for com- munication and social engagement in the urban space, focusing on the non-commercial munication and social engagement in the urban space, focusing on the non-commercial mission of light. mission of light.

With your participation, you agree that the interview will be recorded(only for skype/face With your participation, you agree that the interview will be recorded(only for skype/face to face interviews), in order to facilitate the processing of information provided. You as to face interviews), in order to facilitate the processing of information provided. You as well agree that the answers/ or part of the answers will be published in the thesis and your well agree that the answers/ or part of the answers will be published in the thesis and your name of the organization, a logo, your title and a short bio will be displayed. name of the organization, a logo, your title and a short bio will be displayed.

INTERVIEW QUESTIONS: #Welivehere project INTERVIEW QUESTIONS: PROJECT RESIST

1. What is the core idea behind your decision to use light as a medium to protest? 1. What is the core idea behind your decision to use light as a medium to interact with the public?

2. How do you inspire the citizens of the various buildings to take part in your action? 2. How did you engage the citizens to take part in your action?

3. Do you think that light art is a more impactful medium to oppose for an issue than a demonstration or a poster? If yes, why & how? 3. Do you think that the variety of colors and different fonts of the texts, play an important role for the creation of a stronger visual impact than projecting the public messages with white color? 4. In your project, light plays an important role and starts a political conversation. In which extent can “light” provoke dialogue between the municipality and the citizens? 4. In your project, light plays an important role and starts a sociopolitical conversation in the urban space. In which extent can “light” provoke dialogue between the citizens?

5. What is the importance of media on the success of your community-powered light project? 5. What is the importance of media for sharing worldwide a local lighting installation? What media did you use to share the project?

130 APPENDIX

Katia Kolovea Katia Kolovea Master Thesis Student Master Thesis Student KTH Royal Institute of Technology, KTH Royal Institute of Technology, School of Architecture and Built School of Architecture and Built Environment, Stockholm Environment, Stockholm MSc. Architectural Lighting Design MSc. Architectural Lighting Design 2017-2018 2017-2018

Dear Charles Stone, Dear Sir/ Madam,

Thank you very much for your precious contribution to the research and your time to re- Thank you very much for your precious contribution to the research and your time to re- spond to this interview. The experts interview is part of my qualitative research method for spond to this interview. The experts interview is part of my qualitative research method for my Master Thesis in KTH. The aim of the research is to explore Light as a medium for com- my Master Thesis in KTH. The aim of the research is to explore Light as a medium for com- munication and social engagement in the urban space, focusing on the non-commercial munication and social engagement in the urban space, focusing on the non-commercial mission of light. mission of light.

With your participation, you agree that the interview will be recorded(only for skype/face With your participation, you agree that the interview will be recorded(only for skype/face to face interviews), in order to facilitate the processing of information provided. You as to face interviews), in order to facilitate the processing of information provided. You as well agree that the answers/ or part of the answers will be published in the thesis and your well agree that the answers/ or part of the answers will be published in the thesis and your name of the organization, a logo, your title and a short bio will be displayed. name of the organization, a logo, your title and a short bio will be displayed.

INTERVIEW QUESTIONS: Projecting Change: Empire State Building

INTERVIEW QUESTIONS: Tribute in Light, Charles Stone 1. What is the core idea behind your decision to use light as a medium to communicate your message and create awareness for the endangered species in the world? 1. What is the core idea behind the artist’s decision to use light as a medium to create this installation? 2. What are the characteristics that your actions must have in order to communicate a message and inspire the citizens of the world to take action? 2. From a technical point of view, what did FMS office had to work with? 3. Do you think that light is an impactful medium to communicate a message and inspire people to protect the world? If yes, why? 3. How the time parameter affects (how long the installation will be turned on, repetition etc.) the powerful emotion of commemoration? 4. What is the importance of media on the success of your projection? Do you think that the event would have the same level of success without the media coverage?

4. For how many years, the “Tribute in Light installation” should be turned on? 5a. What is the level of importance of the location of a projection? Does the impact change depend- ing on the building that is used? 5b. Why did you choose to use the Empire State Building for this specific action? 5. How important is to surprise the public in order to create a stronger impact? Does tribute in Light surprises people anymore?

131 132 THE END.

133 134