Architectural Lighting Design KTH School of Architecture Master’S Thesis AF270X

Architectural Lighting Design KTH School of Architecture Master’s Thesis AF270X

Light Evoking Emotions: The Element of Surprise in theatre and photography conveyed through the medium of light. Parallels and applications in Architecture

May 2019 Author: Koumaridou Olympia Tutor: Spentza Mara

This thesis is dedicated to the memory of my grandmother

Title:

Light Evoking Emotions: The Element of Surprise in theatre and photography conveyed through the medium of light. Parallels and applications in Architecture

Table of contents

Abstract Introduction Background research a. Motivation of art b. Light and emotions c. Definition of surprise d. Theatre lighting design e. Light Painting photograph and examples Methodology a. theatrical performance: “the experiment” b. Public architectural buildings: Hilton Tokyo - Midland Square Tokyo c. Light painting photographer: Jozef Sedlák d. Facades: Yamaguchi Xavier Memorial Church and Okiden Naha Building Results Analysis a. Analysis of results in theatrical performance “the experiment” i. Plot of the theatrical performance ii. Personal analysis iii. Public interviews iv. Lighting designer interview b. Analysis of Architectural lighting design in Hilton Tokyo and Midland square i. Hilton Tiokyo ii. Midland Square Tokyo c. Analysis of results in light painting photograph “sequence no.2” i. Personal analysis ii. Public opinion from questioners iii. Josef Sedlak interview

d. Analysis of Architectural lighting design in facades of Okiden Naha Building and Yamaguchi Xavier Memorial Church i. Okiden Naha building ii. Yamaguchi Xavier Memorial Church

Discussion Conclusion Acknowledged Bibliography Appendix

Abstract The aim of this dissertation is to research the way light is used as a tool to reveal emotions, focusing on The Element of Surprise. Light is a powerful medium that could instantly change the perception of space in terms of mood and atmosphere that is created by it. By observing the way light is used to reveal ‘Surprise’ in contemporary Theatrical Performances and contemporary painting techniques such as Light Photography Painting paradigms, we can find parallels and apply similar techniques of thought, into the creation of architectural indoor and outdoor public spaces.

The feeling of surprise is an extremely intense emotion happening instantly and has an important impact on human brain and psychology. The main characteristic of this feeling is that whatever causes surprise is unforgettable. People feel this emotion as the result of an unexpected event and surprise happens when expectations mismatch reality, regardless of the fact that it can be something positive or negative.

This Thesis starts by observing light within a contemporary Greek theatrical performance called “The Experiment”, which took place on April 2019 in “Megaron” Athens Concert Hall, trying to identify the way that light is used to evoke the feeling of surprise, while at the same time examining the work of a Slavak photographer Jozef Sedlak, who uses light as a painting tool in his contemporary ‘Painting Photographs’ οften creating surrealistic pictures that provoke the feeling of surprise to the viewers. More specifically, the dissertation focuses on dynamic and static 3D and 2D representations of light used to reveal surprise in order to draw conclusions for architectural 3D space that can be experienced dynamically (move through) or statically (sit/stand and contemplate one specific perspective) by comparing the above mentioned contemporary theatrical performance with interiors of Hilton Tokyo and Midland Square Tokyo ,and Photography Painting with 2D lighting schemes Yamaguchi Xavier Memorial Church and Okiden Naha Building for their facades.

The methods used are mainly qualitative through personal observations, interviews and questionnaires having as criteria of evaluation the following qualities of light: visibility, contrast, light color, layers of light, transformation and completeness.

The chapters “Results” and “Analysis” lead to the comparison, which took place in chapter “discussion”, in order to find the parallels above mentioned.

Introduction This dissertation has its origins in a personal interest in further exploring, within the field of theatre and photography, the way light is used as a tool to reveal emotions, focusing on The Element of Surprise.

By Studying Architectural Lighting Design, someone could instantly realize that the medium of light is not only used to assist in functional purposes but is at the same time inextricable linked to creativity aspects and art qualities. During the Master of Architectural Lighting Design in University of Stockholm Royal Institute of Technology a variety of references were presented concerning the role of light in arts (painting, cinematography) and the way artists use it as a tool to feature their art works. Art originates from the human urge to communicate deeper thoughts and emotions as well as express oneself.

Light often causes emotions in a subconscious way, due to its dual nature - wave and particles - combined with human eye physiology and visual perception we can easily grasp the fact that light – as one of the basic human senses - affects in a direct while complex manner emotions, through its various qualities

The element of surprise is chosen among all other emotions due to its unique complexity. It is an emotion that is always accompanied by other feelings either negative or positive. The presented thesis does not focus on either the negative or positive nature of surprise, but in the way that this is revealed through the medium of light.

In a theatrical performance, through scenography, each scene is modified creating spaces which by the use of light come to life, transferring the audience in diﬀerent seasons, locations as well as conveying emotions. There are common elements that an observer also finds within the field of Architecture. We can thus say that the scenographer and director of a performance are like the architects in real life, the actors are the residents, audience like the visitors of a public space and theatre lighting designer is the architectural lighting designer. On the other hand, the art of photography is a static 2D picture where light is used as a means of helping the viewer to understand the depth in the picture, to focus his attention on the areas of interest and importance, in the same way that light functions in painting. In the field of photography there is “light painting photography” in which photographers use the medium of light and its qualities as a centerpiece to express their thoughts and evoke emotions. This technique was used by Picasso and through the years developed and nowadays it has a lot of supporters.

Background research This chapter aims at focusing on the importance of the purposes and motivation of art, the connection between light and emotions alongside with the definition of the feeling of surprise. In addition, it is crucial here to introduce the reader to the basic functions of light in a theatrical production and the definition of light in painting photography, in order to be able to identify the techniques and qualities used in each general field and specific case studies chosen for this Thesis. a. Motivation of art Humanity through its history is inextricably linked with art. Although the purpose of art is difficult to define, it does not mean that it is unclear but there is a variety of different reasons that lead someone to creation. The purposes that motivate someone’s creativity can be divided into two categories: Non-motivated functions, that are integral parts of nature and existence of man, without having a specific use, exceed the individual or do not fulfill any external purpose. These functions are : a. Basic human instinct for harmony, balance, rhythm, b. Experience of the mysterious c. Expression of the imagination d. Ritualistic and symbolic functions1

Motivated functions of art, which are conscious options and actions with a deeper aim to pass a message, to communicate an idea. These functions are: a. Communication b. Art as entertainment c. The Avante-Garde d. Art for political change (Dadaism, Surrealism, Russian constructivism, and Abstract Expressionism) e. Art as a "free zone; 'removed from the action of the social censure ( social inquiry, activism, subversion, deconstruction), f. Art for social inquiry, subversion, and/or anarchy, g. Art for social causes, h. Art can be used to raise awareness for a large variety of causes i. Art for psychological and healing purposes, j. Art for propaganda or commercialism, k. Art as a fitness indicator.1

1 Giovanni Schiuma The Value of Arts for Business. Cambridge University Press, 2011, p. 37

b. Light and emotions

The power of light has a significant role in human’s life. It can affect human’s health either biological or psychological since it has impact on circadian rhythm. It is responsible for sleeping as well as depression levels and cognitive performance. Consequently, light can convey or affect emotions usually without being perceptible. The primary emotions according Parrot’s categorization are six : Joy, sadness, fear, surprise, love and anger2. A lighting designer using light qualities with a proper way can evoke these emotions. These basic qualities are the following: i. Color of light: It can affect humans’ emotions. People subconsciously have already connected colors with emotions either positive or negative. Red is associated with excitement, passion, warmth but also with rage. Green is calm, refreshing, balanced and boredom. Yellow is stimulating, optimistic, confident, friendly and fear. Blue is intellectual, logical, trustworthy, coldness and unfriendliness. Violet is luxurious, authentic, spiritually aware and inferiority.3 ii. Intensity: the amount of light is transmitted, typically refers to the 'strength' of a light source. Intensity of a source exists independent of its distance. iii. Contrast: often happens when light focuses in a space/ object. It can be high or low, sharp or smooth depending on the different levels between the darkness and light, iv. Direction of light: It can change the perception of the space/object, transforms it, reveal or hide characteristics of it, makes it visible or complete.

c. The definition of surprise

Surprise is one of the six basics emotions. It is a very intense feeling having an important impact on human’s brain and psychology. It is directly connected with the sense of astonishment and amazement as well as with the unexpected and sudden. “Surprise is intimately connected to the idea of acting in accordance with a set of rules. When the rules of reality generating events of daily life separate from the rule-of- thumb expectations, surprise is the outcome”4 . “This gap can be deemed an important foundation on which new findings are based since surprises can make people aware of their own ignorance. The acknowledgement of ignorance, in turn, can mean a window to new knowledge”5 Surprise can be moderate, pleasant, unpleasant, positive or negative as a result unlike the other emotions like happiness and sadness, surprise is always accompanied by other feelings, enhancing them so they become more memorable. “Someone is more likely to remember a surprising experience than an expected one. Researchers at the University of Madgeburg in Germany discovered that the hippocampus, a part of the brain that helps process and store information, becomes more active when people are

2 Parrott, W,Emotions in Social Psychology. Key Readings in Social Psychology. Philadelphia: Psychology Press,2011 3Dan Matthews, “Color and Light Influence your Mind and Emotions” [webside] https://www.lifehack.org/485253/4-ways-color-and-light-influence-your-mind-and-emotions 4 John Casti; Complexification: Explaining a Paradoxical World through the Science of Surprise . New York: HarperCollins, 1994 5 Matthias Gross; Ignorance and Surprise: Science, Society, and Ecological Design. Cambridge, MA: MIT Press, 2010.

8 faced with shocking information or stimuli compared to the familiar. As a result, brain remembers more details about things that elicit surprise compared expected things ”6 In addition, surprise can influence credibility, power, attraction, and persuasiveness either positive or negative depending on the kind of surprise. According to Tania Luna and Leeann Renninger, authors of the book Surprise: Embrace the Unpredictable and Engineer the Unexpected, surprise unravels in four stages. “1) Freeze: We're stunned by the unexpected. This often comes with a gasp. 2) Find: We try to figure it out. 3) Shift: The surprise begins to change our perspective because it introduces us to something new. 4) Share: We often feel compelled to tell others about our novel experiences.”6 As a result, the element of surprise is the shock, the unexpected, something that remain in memory and make you think deeper and further. d. Theatre lighting design (stage light) Lighting design plays a vital role in theatrical productions. It is a kind of art since it tells a story by illuminating the scenario and creating the emotional world of colour and light that brings the performance in life. Without the lighting design the viewer is lost since light in combination with scenography make visual the information about the time and location of a performance. “Light help the audience by guiding them through the story, focusing on characters or details that are relevant at any given point”.8 Light has the ability to create and enhance the emotional content, to create atmosphere, to help sculpt the set the through its qualities7. These qualities of light are :

• color of light: a very power tool that helps to direct the emotions, to create atmospheres

• Intensity: the amount of light is transmitted by the light, helps to keep the balance to give information, to create mood and atmosphere. For example, intensity can make the audience aware about the time but also can give mysterious and dramatic effect when it is dimmed. In staging lighting, the intensity of light does not be measured by meter but by eye comparing lantern’s output to another’s.8

• Contrast and shadows: lighting designer needs to take always in consideration the contrasts and shadows created. Contrasts and shadows are responsible for the visibility, establishment of spaces

6 Vanessa Van Edwards, ”The Surprising Benefits of Feeling Surprised More Often” [wedside]

https://www.scienceofpeople.com/surprise/

7 Graham Walters, “Stage lighting step by step, Basic techniques to achieve professional results”, London, Quarto Publishing,1997 p.7

8 Nigel Morgan, “stage lighting for theatre designers” 2nd edn. London, Entertainment technology press Ltd,2003,p.14,20

• Position of light source:. It is responsible of how characters and objects are illuminated. The angle is crucial also, since creates effects and mood, reveal or hide things on stage. There are five positions on stage light: Front light, Side lighting, High side lighting ,Back lighting, Down lights (figures 6-7)

Figure 1: Horror opera: “usher”. Light establishes spaces through different colors and dimmed intensity. Warm yellowish for orchestra and cold blue for the actor,

Figure 2: Horror opera: “usher”. A Figure 3: Horror opera: “usher”. High side light from the window creates contrast, attracts the attention, cold a dramatic effect bluish light creates an anxious feeling

Figure 4 Horror opera: “usher”: Different layers of Figure 5: Horror opera: “usher”: Red color affects the light create sharp shadows. visibility and reinforces the sadness and fear.

Figure 7: Position of light source change the perception and Figure 6: 1. Backlight-straight on vertical 450 behind, transforms a figure depending on the angles 2. Toplight,3. Side head height, 4. From below (vertical/horizontal and degrees). 1. Straight vertical 450. 2.horizontal 450 /vertical 450 from the front,3. From the side vertical 450, 4. Vertical/horizontal 450 from behind.

e. Style of performance: Another factor a lighting designer needs to have in consideration is the style of performance in order to be able to respond in requirements and to create a storytelling lighting design. There is a variety of styles, however they can be divided in four general categories: • Realism: When lighting design mimic real life lighting. This can be partial or total mimic. • Symbolism: when lighting design communicate an idea. • Minimalism: “usually empty spaces are used and rely on the actors to create an experience for the audience. In minimalist theatre, light can be used to create entire settings, or a location can be changed simply by changing the lighting state”9 • Fantasy: In this style is given a freedom to the lighting designer to create a “new world” usually using colors or even internal or practical lights or strobe lights to create magical effect 9

9 AQA,realizing potential, “drama and theatre, Understanding and designing theatre lighting” Manchester, 2016, p.4

f. Light painting Photography “Photography comes from the Greek words phos (“light”), and graphis (“stylus”, “paintbrush”) or graphí, which mean “drawing with light”. Light Painting Photography can be divided into three categories. 10 1. “Light Drawing: the light source can be seen by the camera, during a long exposure the artist uses this light source to draw or create a design within the frame. 2. Kinetic Light Painting: the lights in the scene generally remain stationary while the camera itself is moved about during a long exposure to create color and design within the frame. 3. Light Painting: the artist uses handheld light sources to selectively illuminate parts of a scene during a long exposure photograph.”10 This kind of art first met in 1889 by Étienne-Jules Marey and Georges Demeny and then many artists followed this movement among them Picasso. In 1949, Gjon Mili, who worked for “Life” magazine as a photographer visited Pablo Picasso to demonstrated some of his photographs of ice skaters where lights were fixed to their skates (figure 8). Picasso was so fascinated from Mill’s images that in fifteen minutes painted with a strobe light a series of light drawings in a dark room within five poses. Mili used two cameras (for side and frontal views), played around with long exposure shots to enact Picasso’s dramatic movements in space and time11

Figure 9: Picasso Draws a Centaur

Figure 8: Gjon Mili, Figure Skater Carol Lynne

10 Jason D. Page ,”history” [website] https://lightpaintingphotography.com/light-painting-history/

11 Michelle Park, “LIGHT DRAWINGS BY PABLO PICASSO AND GJON MILI”, [website], 2013,http://resourcemagonline.com/2013/04/light-drawings-by-pablo-picasso-and-gjon-mili/24125/

Figure 11: David Lebe: “Light Drawings, 1976, In Figure 10: Ribbon on Hannover Street by Eric 1969 photographer David Lebe began Staller. “He could be called the father of light experimenting with pinhole cameras. It was this graffiti or light drawing in its present-day experimentation that lead to his revelation that a form. Staller was born in 1947 in New York. He photograph didn’t have to just capture an instant studied architecture at the University of Michigan in time but that it could capture a whole event. In and graduated with a bachelor’s degree in 1971. 1976 David was looking for an escape from his Towards the end of his time at UOM Eric started to small cluttered Philadelphia apartment, so he create sculpture and pieces of performance art. turned out the lights. In the dark David was able From 1976 to 1980 Staller roamed the dark streets to image the larger spaces he wished for. He of New York City creating light painting 13 opened the shutter of his camera and began work photographs” . on the first of his light drawing series. These first images were self portraits where David used small pin lights to outline his own body.” 12

Methodology The methods used are based on objective and subjective appraisals covering impressional and technical features in both cases. In the first case there is a comparison between a contemporary theatrical performance “The Experiment” taking place in Athens Greece (April,2019) and two interiors of public building Hilton Tokyo and Midland Square Tokyo, while the second case concerns a comparison between a sequence of photographs by Jozef Sedlak and the facades of Yamaguchi Xavier Memorial Church and Okiden Naha Building. The evaluation is based on following criteria: 1. Visibility.(intensity) 2. Color of light. 3. Layers of light. (contrast) 4. Transformation. (movement) 5. Contrast/ focus. 6. Completeness/incompleteness.

The lighting design of both architectural spaces was carried out by Lighting Planners Associates (L.P.A). “Lighting Planners Associates (LPA) is an organization of lighting specialists established in 1990 led by Kaoru Mende. a.Theatrical performance and Interiors of buildings 1.The experiment The theatrical performance “the experiment”, took place in May 2019 in Athens, in a small alternative underground scene of Megaron, the Athens concert Hall. Its duration was an hour. The selection of this theatrical production was based on the fact that the lighting designer George Tellos, uses a dynamic lighting design for this play which met the requirements of the evaluated criteria. The methods used in analysis the theatrical performance are divided in the following fields of research: i. The plot The plot is based on a paradox experiment of physics, where the electrons change their behavior when are observed, trying to find parallels in people reaction when someone observes them. Do people change their behavior? Are we really ourselves, when we are alone or when people are watching us? The plot was a tool that helped me to identify the relation between the scenario and lighting design. ii. Observation of performance: Personal observation of the performance played an important role in analyzing the space (stage) and light qualities that used in relation to the scenario. Therefore, attending the performance was crucial in order to be able to identify the existence of the criteria of evaluation and their contribution to the feeling of surprise.

14 iii. Lighting designer interview: The interview with the lighting designer was based on information about qualitative and quantitative methods that used in lighting design of the performance focusing on the following issues: -Qualitative: 1. Light as a tool to evoke emotions and tell a story 2. The achievement of revealing the feeling of surprise 3. The use of color to reinforce the emotion 4. Lighting design follows the scenario 5. Lighting design style of the performance - Quantitative: 1. equipment that used 2. lighting layout iii. Audience interviews: The interviews with five viewers within the audience were significant in order to confirm that the emotion of surprise was indeed evoked through the medium of light and in exactly which specific scenes it happened. In addition, another issue was their opinion about the importance of light and if the light is a medium that reinforces the emotion of surprise. 2. Parallels in Architecture lighting design of Hilton Tokyo and Midland Square Tokyo: The following buildings were selected owning to their dynamic lighting design which meet the criteria of evaluation. The analysis of them made by myself and some information through the internet. i. Hilton Tokyo : it is located in Shinjuku. The 3rd and 7th floor were renovated in 2012 by L.P.A .Hilton Tokyo offers a range of facilities among them wedding ones that are located on the 3rd floor where lighting design offers a great experience to the users. “Chapel La Parle is an elegant seashell-shaped chapel that houses a maximum of 80 guests. A glass wedding aisle creates dramatic lighting effects to make your wedding unique”. 12 ii. Midland Square Tokyo: Midland Square is a multi-purpose facility of offices and shops located in front of Nagoya Station. The outside walls are from glass offering a great view to the visitors. In the top floor there is an open space Sky Promenade where visitors can enjoy a pleasant indoor walk where the light effects give them the sense that they walk through clouds. In the sequel, collecting the result material from the theatrical performance and analysis of lighting conditions of the two buildings, there are the conclusions

12 https://www3.hilton.com/en/hotels/japan/hilton-tokyo-TYOHITW/event/index.html

15 concerning the parallels between them in terms of techniques and qualities of light used regarding the criteria of evaluation.

b. Light painting photography and facades of buildings :

1. Light painting photography: “sequence no. 2” The “sequence No.2” (figure 12) 1983 from the “First concepts 1975-1989” by Josef Sedlak (Appendix ) consists of three photographs where the light played a significant role changing the perception of a human face. The selection depended on the criteria that mentioned before.

Figure 12: Sequence No.2 1983, By Josef Sedlak i. Personal analysis of photographs:

Analyzing in person the photographs gave me the opportunity of observing the means and which of the criteria of evaluation were used in each one in order to identify the role of light in evoking emotions, especially surprise. ii. Questionnaires:

Τhis method is used to examine the public's point of view. The participants were ten people from different backgrounds and their ages range from 25 to 70. The questionnaires are negotiating the following issues: 1. The feelings created by watching these photographs and the reasons 2. If the photographs will be memorable 3. Creation of a field for further thinking (appendix)

iii. Photographer Interview:

Interview with Photographer Jozef Sedlak through e-mail regarding the following issues: 1. Light as a tool to evoke emotions and tell a story 2. The concept/story behind the photographs 3. The use of color to reinforce the emotion 4. The achievement of revealing the feeling of surprise

2. Parallels in Architecture lighting design of Yamaguchi Xavier Memorial Church and Okiden Naha Building:

The following buildings were selected owning to their lighting design which met the criteria of evaluation. The analysis of them made by myself and partially depended on some information through the Internet. i. Xavier Memorial Church: “it was built in Yamaguchi in 1952 in honour of St. Francis Xavier, the first man to preach the Good News of Jesus Christ in Japan. The church became one of the main visiting sights in town and was widely liked by Christians and non-Christians alike. Unfortunately, it burned to ashes on Sept. 5, 1991. After that, thanks first of all to the unstinting support of the citizens of Yamaguchi and to the generosity of many other people all over the world, the present basilica was finally completed on April 29, 1998”13 ii. Okiden Naha Building: It is an office building in Tokyo which was built in 1999 by JYU Architecture laboratory and lighting design made by L.P.A.

In the sequel, collecting the result material from the photography field of research and analysis of lighting conditions of the two facades, there are the conclusions concerning the parallels between them in terms of techniques and qualities of light used regarding the criteria of evaluation

13 Yamaguchi catholic church, “a presentation of Yamaguchi Xavier Memorial Church”.[website], 2006, http://www.xavier.jp/english/e-index.html

Results

Theatrical performance

i. Personal observation

Stage:

Figure 13: the scenery consisted of a fabric sphere decorated as a house ,while outside there was a table and a chair for the scientist. The lights around the sphere served functional and atmospheric reasons. The curtain with smal leds represented nighttime.

Figure 14: A neutral white spotlight, attracts the attention of the audience creating high contrast. In the floor, blue light is reflected from side floor lamps. Yellowish led give the nighttime, and blue colour inside the sphere gives the “glass” material. 18

Figure 15: High contrast of spot light affects the visibility inside the sphere

Figure 16: The light equipment inside the sphere. There are a lot of layers of light among them RGB led and neutral white tubes,

Criteria of evaluation were identified in the performance

Visibility Yes

Color of light Yes

Layers of light Yes Contrast/ focus Yes Transformation yes

Completeness / incompleteness No

Figure 17: robotic lamp.It gives flexibility in Figure 18: Floor lamps. They create paths for movement and position. hung from TRUSS actors,

Figure 20: inside the sphere for functional Figure 19: Fabric sphere reasons.

Figure 21: Fabric sphere

20 ii. Interviews with audience:

The sense after the theatrical performance

5 4 participant1 3 participant 2 2 participant 3 1 participant 4 0 participant 5

Figure 22: There are not significant differences on participants responses. However, the sense of surprise is the most intense having 21/25 followed by the unexpected 20/25 while satisfaction and enthusiasm are in the same rate with 19/25. The unforgettable is in the lowest rate with 15/25.

Did the light reinforce the emotion of surprise?

0% 20%

very much quite enough

80% not at all

Figure 23 : Four participants responded that light reinforce their feelings heavily while 1 of them answered that light is a mean that affects quite enough the emotions

How important was the lighting design in the performance?

The importance of light in the performance

0% 20% very important important not so important 80% unimportant

Figure 24: A 80% of the participants respond that lighting design played a very important role in the performance, while a 20% of them considered that was just important.

In which scenes was evoked the feeling of surprise by the light?

Figure 26 The audience responded that when the light Figure 25:light evoked the feeling of surprise when the became red and actors appears as shadows felt surprise. scientist came into the stage from the main entrance lit by a backlight.

22 iii. Lighting designer interview:

The use of color to reinforce the emotion: “the use of color allows us to create or reinforce emotions of the audience. People have connected colors with emotions. In this performance the colors used either as tool to evoke emotions or to create illusions, for example the blue color in the fabric sphere in order to appear like “glass” sphere”.

Light as a tool to evoke emotions and tell a story: light was a tool that made the audience aware of the nighttime, location- inside the glass sphere and establish spaces, indoor-outdoor. It supports the storytelling taking always the scenario into consideration. Moreover, it has the ability to create atmosphere and mood. Under these circumstances light is a powerful narrative tool

The achievement of revealing the feeling of surprise: The plot by itself was a surprise, and we needed to reinforce this feeling. The sudden switching of colors of light, the contrasts and shadows I think were the means that evoked this emotion. When the sphere became red for example, or by changing the visibility when actors appeared as shadows. Even when the scientist was lit suddenly by a spotlight from above and all the layers of light switched off.

Lighting style: Fantasy and partial realism

Lighting layout and equipment

Figure 27 lighting layout and equipment By LightingArt office

1.04 x ETC PROFILE 25/50 (1>4):numbers 1 to 4 fixed lights to illuminate the path outside the sphere, key light, Hanged by TRUSS (T3-T4),no color, if it needs color they put it externally filter.

2.07 x PIXELLINE 1044 LED (101>107):numbers 101 to 107 fixed lights illuminate where the viewer is sitting 107 + 106 is to illuminate the path that actors walk. They used to “paint” the spots that are stamped and create effects.They are LED technology BAR with cold light RGB (RED GREEN BLUE) and blending colors.106-107 are hung from TRUSS (T3)

3.03 x CHAUVET INTIMIDATOR HYBRID (201>203) :numbers 201 to 203. they are robotic and give flexibility in movement and position. 201-202 is hung from TRUSS (T4) the 203 is on the floor and is for back light, the lamp is cold, has many functions over 13 colors, disk with raft, zoom and rotation.

4.07 X DTS ARTEMIO FRESNEL (301>307) small FRESNEL light placed inside the sphere to illuminate the actors inside the sphere. lamp is without colors

5.05 X MINI FOCUS LED (308>312) (with blue colour in the layout) very small lights are placed inside the sphere to light it from within.LED with the possibility of RGBW colors

6.02 BARCO PROJECTOR 10,000 ANSI LUMEN projection into the sphere are hung from the (TP2)

7. 16 X CHAUVET LED PAR BATTERY(with red colour in the layout): placed outside of the sphere, LED PAR technology with cold light having 3 basic colors RGB with battery and 24-hour autonomy,connected to the console through wireless

8.01 x SHOWLED COURTAIN DMX 12,00m me 8,00mIS a black curtain which has small led lamps hung from (T1)

Photography i. Personal observations criteria of evaluation

Visibility Yes Color of light Yes Layers of light no Contrast/ focus Yes Transformation Yes Completeness / incompleteness Yes

Figure 28. Two light sources from the side in the height of the face. One green and one red. In the first picture one light source, only half of the figure’s face appears, high contrast, incompleteness In the second one two light sources, the characteristics in red area are not clear, light transforms the face In the third the movement of light sources create this transformation on human’s face into an abstract figure.

a. Photographer

Light as a tool to evoke emotions and tell a story / The concept behind the photographs

“These two photographic sequences are fragments of a book that was part of a master's thesis.

I interpreted the inner world and the identity of man, the metaphorical decomposition of human being. Each color has its own symbolism, an imaginative monologue, visualized by its color. The book was named the "Monologue". The book included short poetic texts.

If I should comment on space and light in photos, the space symbolize a political underground in the basement (man, artist like dissident), because people lived in a totalitarian communist system. Light and color are the expression of hope and the

25 symbolic measurement of the size of the outer (real) and inner world (space of human being). Red and green colours are like traffic lights, some navigation - go or not - stand, balance between openness and self-closure.”

The use of color to reinforce the emotion / The achievement of revealing the feeling of surprise

“I tried to convey a political and social message, to make people think about the situation that lived in by shocking them. The use of colors was not random. Apart from, the symbolic purposes, warm red and cold green represented the emotional extremity of people.

Surprise was indeed a feeling that I wanted to evoke through the use of light, playing with the visibility and deconstruction of the image”.

b. Questionnaires of 10 participants

Which of following feelings are evoked by photographs?

0 fear surprise joy sadness love anger

first picture second picture third picture

Figure 29: the feeling of surprised evoked by all photographs while the fear by the first two. Anger is provoked by second and third photographs while sadness appears only in the first one and joy only in third one.

Will the photographs register in your memory?

memorable

30%

definitely maybe 70% not at all

Figure 30: a 70% of the participants responded that definitely the photographs registered in their memory while a 30% was undesided

Do photographs create a field for further thinking

further thinking

40% definitely 60% maybe not at all

Figure 31: The majority of participants believed that the photographs create a field of further thinking while a 40% of them were undecided.

Analysis a. Analysis of results of theatrical performance “the experiment” plot Τhe theatrical performance is based on the paradox of the double slit experiment. Physicists of the twentieth century have been able to experiment with the movements of the tiniest particles of matter, the electrons. The results were surprising. In the famous double- slit experiment, there was a particular paradox. When the electrons "knew" that an observer watched them, they behave completely differently than when the observer's observation remained hidden. It was then suggested that the infinitesimal particle of the matter seems to be subject to some form of consciousness. No one could have imagined that the experiment would be the beginning for physicists to know the magical world of quantum mechanics. The plot based on this experiment shows a family living encased in a transparent sphere. Outside of it, a scientist sometimes observes them apparently and sometimes without them realizing it. The attitude of the people totally depends on his eye. The theatrical play poses a social question: To what extent a person's behavior changes when someone looks at him, what aspects of himself is trying to hide and what to show. Personal analysis The scenography of “experiment” was minimal contrary to lighting design which can be characterized as complex. The role of light was complicated, since apart from its functional purposes, it aimed to give information about the time and contribute to viewers’ emotions. My observations were based on the criteria of evaluation of which identified the following: visibility, colors of light, layers of light , transformation and contrast. The light followed the scenario and, in some moments, when the element of surprise occurred, light contributed to it through the above criteria. For example, in the scene where the scientist came into the stage from the main entrance, something that was unexpectable, lit from behind with an intense white light, affected the visibility and create contrast. However, the light not only contributed but also evoked the feeling of surprise by its different layers and colors transforming the space or actors. Public interviews According to participants responses the element of surprise through the lighting design was intense and distinct since the majority of them noted that the main senses they had after the performance were surprise, the sense of unexpectable and unforgettable. In addition, according to them the light was one of the means that revealed them. In their opinion the moments that this feeling was more recognizable, were when the scientist came into the stage (figure 32), where there was a back light behind him making his face characteristics invisible to the audience. In the same scene the actors inside the sphere appeared as shadows due to the backlight (figure 32).

Depending on these responses we can realize that the element of surprise was in fact intense since it is directly connected with unpredictable and unforgettable moments.

Figure 32:the scientist come into the stage. Back light Figure 33 red sphere. The figures appear as shadows, from outside. His characteristics are not visible, high back light affects the visibility, transformation of actors contrasts. and sphere

Lighting designer interview As far as the lighting designer and the lighting operator are concerned, the element of surprise was really the basic feeling that they wanted to convey to the audience since the scenario of the performance is based on a paradox experiment of physics. The concept of lighting design depended on functional purposes so that actors can move into the stage and viewers can have right visual contact (figure 16/ 1-4,101-107,301- 307) . In the same time light used to establish the nighttime (figure 12, black curtain with led) and location of a performance where the actors are inside a “glass” sphere. In addition, light used to “tell a story” by creating and enhancing mood and atmosphere. In these circumstances to achieve the feeling of surprise ,lighting designer George Tellos used different light colors (figures21-26) to the sphere, creating contrasts and shadows playing with the visibility making the sphere look “glass” with neutral or blue light inside the sphere (figure 24-26) so that the actors are visible, or he used back light behind the scene transforming the actors look like shadows whose height was changing depending on their position (figure 21,22).

Figure 34: Layers of light and different colors inside the sphere (blue and yellow) are responsible for the visibility

Figure 35:The stage before the begging oaf the play

Figure 37: The sphere looks white due Figure 36: different colors of light. to the tubes inside. Actors are clearly Yellowish color establishes the area of visible. attention, focusing on the actor inside the sphere

b. Analysis of Architectural lighting design in Hilton Tokyo and Midland square

Hilton Tokyo After the renovation of 3rd and 7th storey the lighting design by L.P.A offers unique experiences to the users. In the third floor there is a wedding chapel where in the middle an aisle from glass is created. The aisle is illuminated from below giving the sense to the couple that walk on the water. The element of surprise is perceivable in the sense of the unexpected that is established in the user's memory and break the rules of reality . The combination of color and light position creates a dramatic effect of water and at the same time the reflections of hidden celling lights create the illusion of existence of marine life. (figure 38)

Figure 38: Hilton Tokyo, 3rd floor, wedding chapel. The aisle from glass in combination with lights creates a water effect. The reflections of upper hidden lights look like marine life. In the public areas and banquet hall there are celling recessed luminaires disjointedly positioned. The materials used in these areas, marble in the floor and glass door, have a high level of reflectance that creates a festive aisle in the floor which gives the impression of a path full of confetti or stars (figure 39). The fact that through lighting illusions are created ,motivates the user to think further, observe it without overtaking it as something predictable, leads to the element of surprise.

“This shell-shaped chapel is enclosed in glass with a softly winding aisle to the altar. Fine detail for the luminous floor creates the illusion of the bride walking on waves or floating down the aisle. Ceiling lighting in the banquet hall and public areas suggests

31 the image of confetti floating in the air and origami style indirect lighting adds a Japanese essence”.14

Figure 39: the reflections of celling recessed luminaires create a festive mood in the banquet hall.

Midland Square 2007

On the top floor an interior space was created offering to the visitors a great experience through a combination of light and mist. It is an open space where in the lower level created a narrow aisle where on the one side there is wall and on the other a glass one. In the aisle the light is blue and comes from the left wall where the luminaires are in low height (figure 40). In addition, in the upper level there are luminaires on the wall (figure 41) reflected in the glass creating a starry effect. The bluish atmosphere gives the illusion to the visitor of walking through clouds offering a great view of the city.

“ The design concept makes extensive use of the most advanced LED lighting available at the time to create an interior space that is both ethereal and kinetic. The mist and light motif of the spacious Sky Promenade on the top floor transforms it

14 Yukio Hashimoto Design Studio,” Hilton Tokyo 3rd and 7th Storey Renovation”, [website],2012, http://www.lighting.co.jp/pages/project-detail/146

32 into a sea of clouds where visitors can enjoy an indoor walk and appreciate the surrounding nightscape”.15

Figure 40: Top floor of midland Square building. Different colors of light establish spaces.

Figure 41: The combination of blue color of light and mist gives the impression of clouds. Reflections of light on glass look like star regarding the position of the visitor.

15 Nikken Sekkei,” Midland Square”, [website],2007, http:// www.lighting.co.jp/pages/project-detail/70

c. Analysis of results of Photographs “sequence No,2”

Personal analysis In the “sequence No.2” 1983 from the “First Concepts 1975-1989” the following criteria of evaluation were identified: Contrast, transformation, color of light, visibility, completeness/ incompleteness. In figure 27 it is presented the same person in three different photographs in a black background with different light conditions in each one. In the first photograph it is used a greenish side light in the eye height, having as result the creation of high contrast, making the face incomplete since only the half face of the model appears. In the second one, the face is illuminated from one side with green light source while from the other one with red. In the red side, the details and characteristics of the face are not so clear in comparison to the green one. Αs a consequence, the use of the second light source transforms the figure, creating different moods in each side. In addition, in the middle, there are some yellow details from the mix of colors. In the third photograph, the characteristics of the face are not visible, and the whole image has been transformed. However, the shape and the colors remain the same and give the sense that you can see the person behind. (firure 42)

Figure 42:In these three circumstances, it is noticeable that the medium of light can reveal or conceal information and details from the viewer and distorts the reality with color or creating illusions. As a result, the element of surprise is noticeable in this light painting photography.

Public opinion from questioners Although the feeling of surprise is revealed in every photograph, the percentages are different in each one. In the first one a 50% of participants felt surprised, a 60% in the second while the third one evoked the higher percentage, 80%. However, it is observed that the feeling of fear in first and second photograph is quite intense. In addition, the anger is presented in second and third photograph with 40 % and 30% respectively while sadness is appeared in first and joy in third photograph with a percentage of 40. The reason of these feelings according toparticipant’s responses in the first picture, depended on the incompleteness of the face, something that made them feel fear and surprise but also the green color was responsible for the feeling of

34 sadness. In the second case, they mentioned surprise and anger because the red color transformed the characteristics of the face while fear was based on the unknown. In the third photograph, the contrast and lack of characteristics were responsible for surprise while the color and texture provoked Joy. The anger was revealed through the tension and image misunderstanding while the fear and sadness because participants couldn’t see the characteristics of the face. Furthermore, a 70% of the participants said that definitely these photographs are unforgettable and a 60% that was caused further thinking concerning the meaning and the concept behind the photographs.

Josef Sedlak interview Josef Sedlak noticed that his purpose of this sequence was a social-political message something that as it was mentioned in the background research constitutes motivated art. In the interview he mentioned that the means used to achieve the surprise were the visibility, the colour of light and deconstruction, which coincide with the criteria of evaluation if we consider the transformation as a result of deconstruction.

d. Analysis of Architectural lighting design in facades of Okiden Naha Building and Yamaguchi Xavier Memorial Church Personal analysis In figure 34 and 35 the Okiden Noha Building is presented in two different lighting conditions. In the first one the building has the permanent lighting design while in the second one is a temporary seasonal installation. In the temporary one the light installation gives information about the season, creating a Christmas tree by red light mounted in the windows. The volume of building is transformed presenting an image that changes the structure of building. The contrast and color are the main tools that were used to create this seasonal lighting design. Undoubtedly, light reveals or conceal architecture. The element of surprise is present in seasonal light installation due to the fact that viewers face something unexpected that breaks the rules of usual.

Figure 44: Okiden Naha building, permanent lighting Figure 43:Okiden Naha Building, temporary Christmas design lighting design. Supervision of Yamaguchi Xavier Memorial Church X`mas City Light Up 2013

The followings figures feature the Yamaguchi Xavier Memorial church. In figure 36 it is lit up temporarily for Christmas, while in figure 37 the church is presented under daylight conditions. The lighting design was based mainly on a graduation of blue and orange light that according to the L.P.A resembling a sunset, while on December 1st and 24th the colors change to red and white16. The light in this occasion attracts the attention of visitors, makes them wonder about the changes of lighting conditions since it is something unusual for them. The combination of contemporary architectural style and temporary lighting design is responsible for the feeling of surprise. The façade changes completely by the colors of light creating a fairytale façade which without the cross nobody can imagine that this building could be a church.

16 Supervision of Yamaguchi Xavier Memorial Church X`mas City Light Up, [website],2013,http://www.lighting.co.jp/pages/project-detail/139

Figure 45: Yamaguchi Xavier Memorial church, temporary Christmas lighting design.

Figure 46: Yamaguchi Xavier Memorial church under daylight condition.

Discussion on results

a. Comparison between “experiment” and interiors lighting design of Hilton Tokyo and Midland square

In an attempt to find parallels and applications between the above examples, it was observed that all cases had minimal decoration while lighting design can be characterized by complexity. On the other hand, “the experiment” based on dynamic lighting design which is a powerful tool that can be easier reveal or contribute the surprise ,while in architectural field in two buildings is a static one. However, this does not mean that static lighting design has lack of power. By comparison of three cases, it is noticeable that light acts as a tool that transforms the reality through the color in combination with other materials. In the “experiment” blue light transform the fabric sphere into a glass one, similarly to the glass aisle in Hilton case which gives the illusion of water while the combination of mist and blue light in the top floor of midland square is giving the impression of a cloudy sky making the aisle invisible. The mist is also met in theatrical performance when the scientist came into the scene that combined with light affecting the visibility making his face characteristics invisible as it mentioned on analysis. Moreover, the layers of light and colors of light in theatrical performance surprise the audience due to it created high contrasts making actors appear as shadows. On the other hand, the upper layer of light in Hilton case that reflected in the glass giving the illusion of marine life into the glass aisle. Moreover, it is observed that light in all cases represented a familiar image to the viewer and in the same time gave information. In the experiment the curtain of led represented the stars giving the information of nighttime, in Hilton the reflections of celling lights on marble floor and glass door gave the impression of confetti and act like a guide, while the reflections of upper lights in glass wall in Midland square it could be like the stars and the lower like traffic lights. As a results, a lighting designer using the same qualities of light can create different effects that cause the emotion of surprise.

b. Comparison between “Sequence No.2” and lighting design in facades of Okiden Naha Building and Yamaguchi Xavier Memorial Church According to Josef Sedlak, “the sequence no.2” aimed to communicate sociopolitical conditions of his country. Similarly, the purpose of temporary lighting design of the two facades is to communicate the festive mood of Christmas. In all cases the light is used as storytelling like it acts in theatrical performances. As it is mentioned in the analysis surprise was revealed through the colour of light and contrasts that caused transformation of the face and façades. More specific, in the sequence no.2 the light through the high contrast concealed the half face, with the use of two sources deform the characteristics of the face and by the movement of them the whole figure was defaced and transformed it into an abstract image. In a similar way, the L.P.A using red light transformed the volume of Okiden Naha building, representing only a Christmas tree while in Yamaguchi Xavier Church the façade was transformed into a fairytale atmosphere.

A further research in the use of light as a tool which evokes surprise in the rest field of arts would be definitely the next step in order to create a more complete view concerning the parallels between light in art and architecture. Moreover, it would be interesting to research the sociopolitical ideas that light can cause through the element of surprise.

Conclusion In conclusion, light is an extremely powerful medium that influences the emotions and consequently the psychology of human beings since the way people perceive the light is responsible for their reality. On the other hand, the intense feeling of surprise motivate people to think further, to experience unforgettable moments,to get out of their routine and to break the rules of reality, creating imaginary scenes. Undoubtedly, surprise is a strong element in the field of architectural lighting design, giving the opportunity to create memorable places and experiences. Due to the nature of theatrical performances to transfer people into other realities and narrate a story, the set of rules in lighting design is wider in order to achieve the emotion of surprise. Similarly, in the field of lighting painting photographs the artist has the ability to create imaginary worlds and images. However, in architectural field it is possible to achieve this emotion applying the same qualities and criteria by using different means. It is proved that the power of light colours, the contrast can influence and change the visual perception as well as transforming the interior space even the whole volume of a building.

Acknowledged

I would like to thank:

My family for the continuous support and encouragement in every step in my life.

My tutor Mara Spentza for her extremely helpful guidance, encouragment and patience as well for the motivation she provided me with to carry out this research.

Isabel Dominguez and Rodrigo Muro who through their lectures inspired me to deal with this topic and all the knowledge that they offered me during the Master program

Andrea Kourtis and George Tellos for the valuable material and information about the theatrical performance that provided me with.

Finally, I would like to thank Jozef Sedlak who despite the 26 years that passed from “sequence no.2” , he provided me with very useful information.

References

Giovanni Schiuma The Value of Arts for Business. Cambridge University Press, 2011, p. 37

Parrott, W,”Emotions in Social Psychology. Key Readings in Social Psychology”. Philadelphia: Psychology Press,2011

Dan Matthews, “Color and Light Influence your Mind and Emotions” [webside] https://www.lifehack.org/485253/4-ways-color-and-light-influence-your-mind-and-emotions

John Casti; Complexification: Explaining a Paradoxical World through the Science of Surprise . New York: HarperCollins, 1994

Matthias Gross; Ignorance and Surprise: Science, Society, and Ecological Design. Cambridge, MA: MIT Press, 2010. Vanessa Van Edwards, ”The Surprising Benefits of Feeling Surprised More Often” [wedside]https://www.scienceofpeople.com/surprise/

Graham Walters, “Stage lighting step by step, Basic techniques to achieve professional results”, London, Quarto Publishing,1997 p.7

Nigel Morgan, “stage lighting for theatre designers” 2nd edn. London, Entertainment technology press Ltd,2003,p.14,20

Jason D. Page ,”history” [website] https://lightpaintingphotography.com/light-painting-history/

Michelle Park, “LIGHT DRAWINGS BY PABLO PICASSO AND GJON MILI”, [website], 2013, http://resourcemagonline.com/2013/04/light-drawings-by-pablo-picasso-and-gjon-mili/24125/

L.P.A, “About Company” ,[webside] ,http://www.lighting.co.jp/pages/about https://www3.hilton.com/en/hotels/japan/hilton-tokyo-TYOHITW/event/index.html

Yamaguchi catholic church, “a presentation of Yamaguchi Xavier Memorial Church”.[website], 2006, http://www.xavier.jp/english/e-index.html

Yukio Hashimoto Design Studio,” Hilton Tokyo 3rd and 7th Storey Renovation”, [website],2012, http://www.lighting.co.jp/pages/project-detail/146

Nikken Sekkei,” Midland Square”, [website],2007, http:// www.lighting.co.jp/pages/project-detail/70

Supervision of Yamaguchi Xavier Memorial Church X`mas City Light Up, [website],2013,http://www.lighting.co.jp/pages/project-detail/139

AQA,realizing potential, “drama and theatre, Understanding and designing theatre lighting” Manchester, 2016, p.4

Sedlak Josef, “Biography”, [website], http://sedlakjozef.com/biography_799_2.html

George Tellos and Andreas Kourtis, Biography, [website], https://lightingart.net/

Lists of photos:

1-5: Olympia Koumaridou, Horror opera “Usher”, 2019, Stockholm

6-7: Nigel Morgan, “stage lighting for theatre designers” 2nd edn. London, Entertainment technology press Ltd,2003,p.26-27

8-11: Jason D. Page ,”history” [website] https://lightpaintingphotography.com/light-painting-history/

12,28,42: Josef Sedlak, “sequence no.2 1983”, [website], http://www.sedlakjozef.com/first-concepts- 1975-1989_830_2.html

16-21: Andreas Kourtis, theatrical performance “the experiment”, 2019, Athens

25-26: Andreas Kourtis, theatrical performance “the experiment”, 2019, Athens

27: Andreas Kourtis, lighting layout of “the experiment”, 2019, Athens

32-37: Andreas Kourtis, theatrical performance “the experiment”, 2019, Athens

38-39: ,” Hilton Tokyo 3rd and 7th Storey Renovation”, [website],2012, Tokyo http://www.lighting.co.jp/pages/project-detail/146

40-41: Nikken Sekkei,” Midland Square”, [website],2007,Tokyo http:// www.lighting.co.jp/pages/project-detail/70

43-44: L.P.A, “Okiden naha building”, [website], 1999, Tokyo, http://www.lighting.co.jp/pages/project-detail/291

45-46: Supervision of Yamaguchi Xavier Memorial Church X`mas City Light Up, [website],2013,http://www.lighting.co.jp/pages/project-detail/139

Appendix : Sedlak Josef, “Biography”, [website], http://sedlakjozef.com/biography_799_2.html Bibliography:

-Glasscock, Elaina, "Light: Emotion in Painting" (2017). Honors Senior Theses/Projects. ,https://digitalcommons.wou.edu/honors_theses/128 -Simon Kenny “The Importance of Light in Art, Discusses Light in Art” https://www.art2arts.co.uk/the-importance-of-light-in-art -THE STAGE LIGHTING GUIDE http://www.stagelightingguide.co.uk/ Lewis McGregor,”A Quick Guide for Lighting Film”,May 16, 2016, https://www.premiumbeat.com/blog/basic-light-placements/ -Liza Marder,”How Different Artists Bring Light Into a Painting”, 2017, https://www.thoughtco.com/bring-light-into-a-painting- 4028893 -Hichem Naar,”Art and Emotion” University of Manchester United Kingdom https://www.iep.utm.edu/art-emot/#H4 -Kelli Zezulka “SITTING IN THE DARK: THE IMPORTANCE OF LIGHT IN THEATRE” December 15 ,2016 -JUAN FERRARI,Telling the story with light.Exploring narrative lighting. https://hoarelea.com/2018/10/09/telling-more-stories-with-light/ -Tectum Publishers, Light in Architecture, 2007

Appendix

1.Josef Sedlak Jozef Sedlak refers in his biography that “Studied art photography program on the Film and TV School of the Academy of Performing Arts in Prague. He is the head of the communication in photography studio on the Department of artistic communication FMK UCM in Trnava, and an external lecturer at the Department of Photography and New Media of the Academy of Fine Arts and Design in Bratislava. Aside from pedagogical activities his work comprises of staged, documentary and conceptual photography. His work was displayed individually or as a part of a collective in Czech Republic, Austria, Hungary, Germany, Italy, Great Britain, Sweden, Greece, France, Poland, Russia, Japan and USA. Photographer Jozef Sedlák was born in 1958 in Bratislava, Slovakia. Sedlák began his light painting work in 1980 with his series “Kurz sebapoznania”. Kurz sebapoznania translated into English means “Rate-Self Knowledge”. He is one of a group of artist working with staged photography who, in the 1980’s, represented Slovakia on the international scene.” 17

Some examples of his lighting painting photography are the following:

Figure 48:”On the Democracy of Light... On literature of Light... “I. 1989 – 2008

Figure 47: “sequence no.2, 1983” First consepts

Figure 50 “sequence no.4, 1983” First consepts Figure 49: “sequence no.3, 1983” First consepts

17 Sedlak Josef, “Biography”, [website], http://sedlakjozef.com/biography_799_2.html

2. Questionnaires of “sequence no.2”

Which of following feelings are evoked by photographs?

fear surprise Joy sadness love anger First photograph Second photograph Third photograph

Which are the reasons for above feelings? …………………………………………………………………………………………………………………………………… …………………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………………

Will the photographs register in your memory?

Definitely Maybe Not at all

If your answer is definitely please write the reason …………………………………………………………………………………………………………………………………… ……………………………………………………………………………………………………………………………………

Do photographs create a field for further thinking? Definitely Maybe Not at all

3.Questionnaires of “the experiment”

Which is your sense after the theatrical performance Low 2 3 4 Very intensive intencesive Surprise Satisfied Enthusiasm Unexpected memoriable

Did the light reinforce the emotion of surprise?

Very much Quite enough Not at all

How important was the lighting design in the performance?

Very important important Not so important Unimportant

4.George Tellos

“Born in Frankfurt ,studied at the Universitaet Des Saarlandes" and at the of Department of Theater Studies at the University of Athens in Greece. Upon completion of his studies he started his career in lighting, obtaining experience in the field of stage and concert lighting. He has worked as a lighting designer on numerous events, from live concerts and theatrical performances all over the world to architectural projects, music and dance shows, conventions, and TV shows.Since October 2009 he is Leading two Lighting Design Offices, one in Frankfurt and one in Athens. Since 2013, he is Co Founder of the Architectural lighting firm ARTIC based in Riyadh, Athens, Frankfurt. His professional philosophy is to help create an appropriate environment in an efficient manner in order to present the production envisioned by the client.”18

Andreas Kourtis

“He started working in the field of lighting design in 2004, initially as an assistant alongside George Tellos. Having a 12-year-experience working on concerts, theatrical performances, events and the TV, he has successfully undertaken medium- and large-scale projects worldwide, either as a lighting designer or as a lighting programmer and operator”

5. Lighting Planners Accasiates ‘’The goal of LPA is to design and build outstanding lighting environments that enrich our architectural and lighting culture. Today, LPA has a total of 60 unique lighting specialists at its offices in Tokyo, Singapore and Hong Kong. While the majority of LPA projects are in the area of architectural lighting design, its many outstanding design accomplishments have reached to residential, hotel, office, commercial, public space, and landscape lighting as well as full-scale urban lighting projects. LPA is regarded as a leading lighting consultancy in the world.”19

18 George Tello and Andreas Kourtis, Biography, [website], https://lightingart.net/

19 http://www.lighting.co.jp/pages/about