Artificial Light As a Resource in Public Art

DEGREE PROJECT IN ARCHITECTURE, SECOND CYCLE, 15 CREDITS STOCKHOLM, SWEDEN 2021

The Roles of Light: Artificial Light as a Resource in Public Art

MATEUS MANNINEN

KTH ROYAL INSTITUTE OF TECHNOLOGY SCHOOL OF ARCHITECTURE AND THE BUILT ENVIRONMENT TRITA TRITA-ABE-MBT-20818

www.kth.se The Roles of Light:

Artificial Light as a Resource in Public Art Thesis Title The Roles of Light: Artificial Light as a Resource in Public Art

Master Thesis by Mateus Manninen

Tutor Juha Rouhikoski

Examiner Ute Besenecker

Course Code AF270X 2019/2020

KTH Royal Institute of Technology School of Architecture and Built Environment Master of Science in Architectural Lighting Design Index Abstract

Abstract In this paper, I will explore the role of artificial light in public art through a case 1. Introduction...... 1 study project. With the word role I mean the visual and conceptual hierarchy of 2. Methodology...... 2 materials and resources in artwork. Light is a significant resource in public art. The 2.1 Case Study...... 2 artwork needs highlighting, especially in Northern countries where the winter’s 2.2 Richard Kelly’s Perceptual Theory...... 3 darkness is inevitable. Light is not only a highlighter, it also tells a story of its own. 3. Background...... 4 3.1 Public Art?...... 4 First, I’m going to open up the concepts of public space, public art, light in public 3.1.1 Public Art Matters...... 4 art and light art, to place the study in context. The literature review in the first part 3.2 Light for the Public...... 6 of the study, allows better insight into the relation of light, public art and light art. 3.3 Light for the Arts...... 6 The second part introduces the selected case study project, which is a concept 3.4 Light Art...... 9 design of a landscape artwork competition, for Tramway art in Tampere, Finland. 3.5 Light Art Finding Public Art...... 10 Richard Kelly’s perceptual theory will be used to discuss the observations from the 3.6 Daylight Conditions in Nordic Countries...... 13 case study. Kelly’s theory consists of three fundamental elements of visual design: 4. Project/ Results...... 14 ambient luminescence, focal glow andplay of brilliants. 4.1 Vuohenoja Landscape Artwork Competition...... 14 4.1.1 Conditions...... 15 The researcher’s subjective experience in the case study discusses with the 4.1.2 Concept...... 15 documentations and observations of the project, to explore the circumstances and 4.1.3 Technical Solutions...... 17 to examine the boundary conditions of the case study project. 5. Analysis...... 20 5.1 Ambient Luminescence...... 20 The role of artificial light in public art can be functional and make the space visible; it can be a highlighter and drag the focus into the artwork; or it can be the 5.2 Focal Glow...... 20 artwork itself. With the findings of the case study, I will divide the roles of artificial 5.3 Play of Brilliants...... 22 light in public art infunctional , supporting and leading. 6. Discussion...... 22

6.1 The Role of Artificial Light...... 22 Keywords 6.2 Light in the Nordic Countries...... 23 7. Conclusion...... 24 Public art, light art, public space, case study, nordic daylight conditions References List of Figures 1. Introduction artificial light as information conveyor in visual design. Cambridge dictionary defines role as “the position or purpose that someone or Light is a significant resource in public art. Artwork needs highlighting, something has in a situation, organization, society, or relationship’’, and especially in Northern countries where the winter’s darkness is inevitable. function, on the other hand, as “a natural purpose (of something); or the Light is not only a highlighter, it also tells a story of it’s own. It has the duty (of a person); or “the way in which something works or operates”. In power to manipulate our vision and change the color, shape and size of this study, light is considered as a relational material, and the focus is on objects and surfaces. It also has the quality to be an eye-catcher itself. The the position and purpose of light as a material interacting with other more the technologies of light and lighting fixtures are developing, the materials. Manufactured lighting fixtures usually have a given function more possibilities there are to play with light. and a specific task to fulfill, like a wall washer or a spotlight, but when we’re talking about lighting design and how light is planned to behave and In physics, light is considered to have a dual character. It consists of both play with the surroundings, I prefer talking aboutrole instead of function. electromagnetic waves, and particles known as photons. Despite to this Role is more about the interaction. scientific fact, in an artistic discourse light is also considered as relational material. Relational material meaning that we do not perceive light First, I’m going to open up the concepts of public space, public art, light directly but only in the ways it interacts with other materials and surfaces in public art and light art, to place the study in context. The literature [1]. I consider light as a material and one of the main resources in visual review in the first part of the study, allows better insight into the relation art and artwork because light makes things visible. Like a brush for the of light, public art and light art. I’m introducing history of public art and painter and a pen for the writer, light is the main medium and resource for discussing how artificial light and, later light art, have made their way to the lighting designer and light artist. As an American art sociologist public realm. Howard S. Becker puts it: ‘‘Making artworks of any kind requires resources. What resources depends on the medium and the kind of work The second part introduces the selected case study project, which is a being made in it.’’ [2] concept design of a landscape artwork competition for Tramway art in Tampere, Finland. These chapters then dive deeper into the collaboration In this paper, I’m exploring the role of artificial light in public art through of artwork and light as a resource in art. The observation angles are in case study. With the wordrole I mean the visual and conceptual hierarchy conceptualizing light and integrating artificial light into artwork. of materials and resources in artwork. It demonstrates the position of

1 Richard Kelly’s (1910–1977) perceptual theory, or a methodology, of 2. Methodology three fundamental elements of visual design –ambient luminescence, focal glow andplay of brilliants – is used to discuss the observations from 2.1 Case Study the case study, with a support of literature findings. Kelly’s theory is based The selected research method is case study. A case study is a general term on the visual recognition of elements that affect our visual hierarchy of lit for the exploration of an individual, group or phenomenon [5]. Case study objects in the space [3]. I’m applying Kelly’s theory as a tool to analyze is a qualitative research method which emphasizes subjective experiences the role of artificial light in the project above. and the meanings they have for an individual. Therefore, the subjective Even though this thesis focuses on artificial light, due to the location of the views of the researcher play an important part in the results. [6] selected case study project, daylight conditions in Nordic countries will be Participating observation means that the researcher is involved in the case shortly introduced and taken into consideration, to have a better study. [7] In this case study the researcher is involved as a lighting understanding of the seasonal circumstances affecting the artwork. designer and as an artist in the project. Documents (photographs and technical drawings) as well as participating observations are used as data The study is focusing on the relational material qualities of light and not sources for this case study. so much on the technical execution. According to Richard Kelly, every lighting design process starts with visual imagination [4]. The case study The researcher’s subjective experience in the case study discusses with project is a concept design for a public art competition, which is the first the documentations and observations of the project, to explore the step of transmitting the idea into words and pictures. The case study circumstances and to examine the boundary conditions of the case study description and analysis concentrates on the subjective perceptions of project. Case study was chosen as a method because the knowledge in light in the concept design stage. lighting design is mainly to be found in the written and visual documentation. The stories of projects, from public artworks to lighting design in city planning, provide the primary form of education, testing and innovation for the profession of lighting design. Research Question

What kind of roles can artificial light have in public art?

2 2.2 Richard Kelly’s Perceptual Theory

The findings from the case study will be discussing with the mentioned lighting theory of three fundamental elements of visual design, by American pioneer lighting designer Richard Kelly (1910–1977). Kelly replaced the question of lighting quantity with the question of individual qualities of light, which construct the categories ambient luminescence, focal glow, and play of brilliants [8]. 1

Lighting designer Julle Oksanen reflects Kelly’s theory in his doctoral thesisDesign Concepts in Architectural Outdoor Lighting Design Based on Metaphors as a Heuristic Tool. He considers thatambient luminescence is the element of light that provides general illumination of the surroundings (Figure 1),focal glow is where light is given the express task of actively helping to convey information (Figure 2), and theplay of brilliants can be seen as a result to the fact that light does not only draw 2 2 our attention to something but it can also represent information in and of itself (Figure 3). [9]

I will examine the role of artificial light in public artworks with an inclusive literature review and a reflection of the case study project on Kelly’s theory, as well as Oksanen’s interpretation of Kelly’s theory. ‘The role of artificial light’ signifies, how light is used as a material and a resource in the design and artistic process. 3 3

Figures 1-3. Three fundamental elements of visual design. 1. Ambient luminescence; 2. Focal glow; 3. Play of brilliants.

3 3. Background body in ancient Greek art was both secular and sacred. Later we saw the Roman authorities’ enthusiasm towards statues of the Roman Emperors 3.1 Public Art? and they mainly wanted to point out the majesty of Rome. This kind of propaganda and communal aesthetics were also implemented by Christian To start with public art, we need to understand what the word public communities and different political parties. [12] means in this context. Public art is placed in public sites and public spaces, so the artwork is there for everyone. Public space has been and still is During the 20th and 21st century public art has dramatically widened in quite a volatile term and concept in design. There has been a lot of debate function, form and media. Politics and propaganda became more and around what determines public space and what kind of a role does it play more important and art could suddenly play a very specific role, like the in urban environment. UNESCO defines public space as follows: Socialist Realism art movement in Soviet Russia, where Joseph Stalin supported the country's drive for industrial self-sufficiency. [13] “[…] an area or place that is open and accessible to all peoples, regardless of gender, race, ethnicity, age or socio-economic level. These are public gathering spaces such Modern philosophical perception of art and aesthetics focuses almost as plazas, squares and parks. Connecting spaces, such as sidewalks and streets, are always on subjective experience. Art is seen as a product of an individual also public spaces. In the 21st century, some even consider the virtual spaces act of expression and, the way we respect it might also be more of a available through the internet as a new type of public space that develops interaction and social mixing.” [10] private act of contemplation. [14]

3.1.1 Public Art Matters Architect David H. Fisher frames: “public art potentially includes all forms of creative expression in public space.’’ [11] To define public art by According to Hilde Hein, “[p]ublic art is a part of our public history, part its most basic precepts: it’s accessible to everyone, performed or installed of our evolving culture and our collective memory. It reflects and reveals in a public space or public realm. It is usually located outdoors but could our society and adds meaning to our cities.’’ [15] People care about the also be installed and performed in public buildings. In this paper I will environment they inhabit. That’s one reason why a significant amount of focus on permanent public art installed outdoors. media attention has been directed at public art with ties to the US’ and various other countries’ racist histories, started by the Black Lives Matter Ancient Greek sculpture art usually represented gods, like Apollo and movement in the spring of 2020 (Figure 4). Heracles, or a public figure like an Olympic boxing champion. The human

4 As Fisher framed it earlier, the current view of public art potentially includes all forms of creative expression in public space [16]. We can still see gods from ancient Greek as well as dead emperors, lords and other secular heroes in our cities, as reminders of our history, but we can also see increasing amount of modern public art in the urban environments.

Some Finnish city ordinances, for example Kruunuvuorenranta in Helsinki, have taken part of an art funding program which channels a given percentage of large-scale development project costs to fund and install public art. In Kruunuvuorenranta case the funding is indicated especially to light art. [17]Also temporal public art installations, festivals and performances, are bringing people more and more often together in the cities.

Temporal art in public spaces has been a long established practice. The presence of public art has become increasingly important in our contemporary cities. Temporal public art has so much value because of its ability to reflect and explore the context or the area it is placed in. [18]

Figure 4. Black Lives Matter sign and the face of George Floyd are projected onto statue of Confederate General Robert E. Lee, in Virginia, by artist Dustin Klein. Black Lives Matter protesters have been demanding justice since May 25th, 2020. Floyd, a 46-year-old African American man, died in the custody of Minneapolis police. This is an example of how much it matters to people what kind of public art they are surrounded by, and how light (in this case projection) can be a political tool and a resource as well.

5 3.2 Light for the Public The invention of the electric light bulb was a start of a new era in architecture as well as in art. With this new tool it was possible to show People make places and those places make people. And where there’s how the different shapes and forms of the cities, like buildings and people, there’s also light. Humans have been gathering around light, like outdoor artworks, looked after nightfall. New tools in lighting meant moths in the night, since the day they invented fire. more theatricality and drama as well as a better narrative, and it allowed a new emphasis on structure and space [22]. Until the 18th century, people had only two sources of light: natural daylight and fire. These two types drew the circle of life. The new era of The purpose of artificial light has always been mostly functional, simply light started with the invention of gas and, later electric lighting [19]. to see when it’s dark. The better people see each other and other objects at night, the safer they feel themselves and the surrounding environment. The first experiments with electric light took place in 1809 or 1810. The light source was placed on the table and electricity for the experiment was supplied from the batteries located in the cellar [20] (Figure 3). The Light source on the table electric light has been on the table now for around two hundred years. Thomas Edison’s electric light bulb, which used “a carbon filament or strip coiled and connected to platina contact wires’’, was the first commercially practical incandescent light, which changed the path of lighting, and brought light to public. [21]

Batteries in cellar 3.2 Light for the Arts

Light shapes and defines the way we perceive the world around us. The interaction of light and surface creates our field of view. It is no wonder that visual artists have been extremely fascinated with the nature of light even before the invention of electric light – prior it wasn’t possible to manipulate and treat light as a material. Figure 5. Humphry Davy demonstrates his new electric light for the members of the Royal Institution of London, 1809. 6 As a “building material” and as a creative tool in the urban environment, A or D P LED lighting was a game changer at the start of the 21st century. The small size of the light-emitting diodes allows lighting fixtures in complex G J M shapes. New shapes meant new possibilities to integrate lighting as part of the architectural shapes and artworks. Due to its cheap price, nowadays it’s possible to build low cost large lighting structures and to increase the B or E Q quantity of lighting fixtures in the cities.In todays cities it’s viable to live around the clock. H K N

In the Helsinki city area in Finland, there are roughly 450 statues. Most of these statues were only visible during daytime, until the city of Helsinki formulated illumination guidelines for these works of public art, to C or F R facilitate this process in 2013. The Public Works Department of the City I L O of Helsinki, together with Helsinki Art Museum and consultant agency WSP Finland Oy, created guidelines on how to illuminate the existing statues in the city. [23] (Figures 6 and 7)

The primary task of WSP Finland Oy lighting design consultants was to Lighting Types Figure 6. develop a lighting improvement program, with the aim of illuminating the Type Key Type Key Guidelines on how artworks and their environments, so that city dwellers and tourists can A Old pole, narrow beam M In-ground, narrow beam to illuminate B Old pole, medium beam N In-ground, medium beam existing statues in enjoy them also in the dark.Water Nymphs (Example 1,p. 8) was one of C Old pole, wide beam O In-ground, wide beam the city of Helsinki D New pole, narrow beam P Wall mounted, narrow beam by WSP Finland the first statues to be illuminated in this framework (Figures 9 and 10). The Oy. E New pole, medium beamQ Wall mounted, medium beam lighting concept for theWater Nymphs was to help express the original F New pole, wide beam R Wall mounted, wide beam meaning of the statue and to emphasize the three-dimensionality of the G Bollard, narrow beam S Integrated H Bollard, medium beam T Gobo Figure 7. List of artwork by artificial lighting [24]. I Bollard, wide beam U Bas relief different lighting J On-ground, narrow beamW Special types by WSP Finland Oy. K On-ground, medium beam

L On-ground, wide beam 7 EXAMPLE 1. Water Nymphs

CONDITIONS CONCEPT TECHNICAL SOLUTION Focal glow: The narrow beam spotlight installed on the pole is the only light Water Nymphs,a bronze sculpture The lighting concept was executed by The material and size of the artwork source directed to the sculpture.The light fountain by Viktor Jansson was WSP Finland Oy. Their aim was to defined the choice of light source, color is helping to convey information of the commissioned by the city of Helsinki in develop an overall guiding concept to temperature of light and the angle of sculpture. 1942. It is a classicist style sculpture illuminate the artworks so, that the illumination. The light beam is angled at which represents two water nymphs citizens and visitors could find and 4° and the color temperature is 3500K Play of brilliants: In this case light playing in the waves. The 115 cm high appreciate them in the dark as well. The (Figure 8). [27] doesn’t represent information of itself, statue is placed in the Esplanade Park, in lighting concept for theWater Nymphs but the experience of light changes when Helsinki city center. Water Nymphs, as was to help to express the original KELLYS’ THEORY looking the sculpture from different well as all of the other statues in Helsinki, meaning of the statue and emphasize the angles, because of the strong directions of were only visible during daylight time three-dimensionality of the artwork by Ambient luminescence: The ambient light the spotlight. (Figures 9 and 10) until the city of Helsinki formulated the artificial lighting. [26] is produced by the street lights of the illumination guidelines for public art to adjacent light traffic route, motor route facilitate this process. [25] and the park area, surrounding the sculpture.

Figure 8. Technical drawing by WSP Finland Oy. Lighting type A. Figures 9 and 10. Water Nymphs Esplanade Park, Helsinki.

8 3.4 Light Art

In their thesis Ihmeellistä ja hämmästyttävää:valotaiteesta ja maailman suurimmasta diashowsta (Eng. “Wonderful and amazing: about light art and the world’s biggest slideshow”),light art curator Mia Kivinen considers light art as a form of visual art in which light is defined in a conductive role, as a material or as a theme. [28]

For a long time, light was only seen as a functional element of everyday life. Over time, artists have begun to study it’s properties, the ways it can accentuate shapes and textures. In the 20th century, artificial light had slowly formed its own “character” and started being seen as material in art, architecture, theater and performance art. [29]

The early states of light-based artworks were closely connected with the emerging possibilities of electric light. Lázlo Moholy-Nagy’sLight Prop for an Electric Stage (1928–30) (Figure 11), a motorised metal and glass machine for studying the interplay of light and shadow, is one essential example of early pioneer work using this new medium, light. [30] Light art was broadening the category of sculpture around the 1960s. Artworks were no longer seen as objects only but as significant parts of their environment, and this transition encouraged artists to maximize the light’s potential as a sculptural medium and as a changer of the viewers perception of space [31].

Figure 11. Lázlo Moholy-Nagy’s Light Prop for an Electric Stage (1928-30) Also the meaning of the artwork shifted from the object towards to the 9 experience of the spectator. James Turrel was one of the well-known light artist who, during the 1960s, started moving from the sculptural aspects of light to the larger scale – to create spatial, comprehensive effects with light. He wanted the viewers to be able to look into the artwork rather than just at it. [32] (Figure 12)

3.5 Light Art Finding Public Art

Light art was identified as an art form in the late 20th century, but only in the last 20–25 years, light art has been used in public art. This is mainly because of the development of lighting technology. LED lighting and a range of new technologies emerging in the 1990s, are now coming to maturation, like programmable RGB technology, digital projection systems, LED video screens and sound-to-light systems. Light art can be used in historical events, bringing local highlights to the attention of public, as well as important cultural experiences and value to life. [33]

Light art is finding its way to public realm. As mentioned earlier, in Kruunuvuorenranta the fundings for permanent public art are indicated especially to light art. It’s going to be a first-of-its-kind District of Light that will house 11,000 people by the mid 2020’s. The Silo 468 light artwork (Example 2, p. 12) built in an old oil tank in 2012, designed by Lighting Design Collective, is the first artwork of the area. The work refers to Kruunuvuorenranta's almost 90-year-long oil port period.[34] Figure 12. Skyspace by James Turrell, Outside Insight, 2011. Skyspace is built with a wood exterior. Inside is a white painted domed ceiling with an aperture to the open sky and color changing RGB lighting fixtures between the wall and ceiling. 10 A 2012 holes have been punched in the steel casing of the tank, through which the LED lights make the tank glow like a lantern. In the early evening the work glows white and at midnight it turns red. The speed of the lights is regulated by the rhythm of the wind. (Figure 14 and 15)

Also, temporal public light art is integrating to cities’ annual cycle. The biggest light art festival in Finland, LUX Helsinki, organized by the City of Helsinki since 2009, is getting more and more visitors every year and is filled with international light art (Figure 13). In 2019, the five-day festival gathered over 600,000 visitors. The festival presents a variety of different forms of light art on a few kilometer route which changes every year. [35]

Figure 13. Lux Helsinki 2015, OVO by ACT Lighting Design from Belgium. OVO was one of the artworks in Lux Helsinki 2015. OVO is a wooden-based light installation which observers can enter. Inside the egg shaped installation they will be surrounded by its light animation and soundscape. The work is shaped like an egg – a global symbol of new life. OVO has delighted audiences at many international light events.

11 EXAMPLE 2. Silo 468

CONDITIONS CONCEPT domes are being generated using current flood lights together with the 1280 LED data from the local weather, specially domes creates the ambient light of the Lighting Design Collective (LDC) was The natural light, wind and the movement wind speed and direction. Inside the area. The LED domes also create the awarded a prize to realize a permanent of light on the water formed the warm white LED grid reflects light ambient light inside the silo. urban light art work in Helsinki, Finland. principles for the lighting concept. Walls indirectly via the red walls into the space. It became an official project for Helsinki are perforated with 2012 holes, referring 450 steel mirrors moved by winds are Focal glow: The scale and the huge World Design Capital 2012. It was to the Helsinki World Design Capital fitted behind the holes. With sunlight the amount of shining lights of the artwork decided to be placed in the disused oil 2012 year. [36] silo appears to sparkle like the surface of drags the attention from a further silo in the Helsinki suburb of water. [37] distance. Kruununvuorenranta, which will become TECHNICAL SOLUTION world’s first District of Light. The district KELLYS’ THEORY Play of brilliants: The concept is a will be designed wholly around the 1280 LED domes in 2700K white are interacting play of lights on a large scale principles of light. fitted inside the silo behind the holes. Ambient luminescence: The Silo 468 is lit installation. Light is representing LDC developed a software using swarm outside with wide beam flood light information in and of itself. intelligence and nature simulating directed on the white walls of the silo algorithms. The animations on the LED (See figure 14). The reflection of the

Figure 14. Silo 468 Figure 15. Silo 468

12 3.6 Daylight Conditions in Nordic Countries Tampere Latitude: Altitude Figure 16 and 17. 61.49 Longitude: Cartesian Sun-Path of Architect and Professor Emeritus Henry Plummer mentions in his 23.78 Timezone: Winter Solstice and GMT +02:00 Summer Solstice in book“Nordic light: Modern Scandinavian Architecture”, that Tampere, Finland although the Scandinavian countries (Finland, Sweden, Norway and

Denmark) are dissimilar in topography and vegetation, they share the Winter Solstice same subdued light [38]. In this paper, the city of Tampere will be 21st of December examined as an example of the Nordic weather conditions, due to the time location of the selected case study.

In the dark winter days, the low position of the sun in Northern regions creates long shadows, and in contrast, in the summer evenings, light is diffused from an upper angle [39]. In the winter solstice (21st of December, 2020) in Tampere, the altitude of sun at solar noon (12:22) is 5.24°. The sun rises at 9:42, sets at 15:03, and the length of the day Altitude time is 5 hours 20 minutes. On the other hand, in summer solstice (20th of June), the sun does not set entirely and the length of the day is almost 19 hours 30 minutes (Tables 1 and 2). As a comparison, day length in Barcelona in the winter solstice is 9 hours 10 minutes and in the summer solstice 15 hours and 10 minutes in 2020. Summer Solstice

th Tampere 20 of June Tables 1 and 2. Sun-Path of Winter Solstice and Summer Solstice in Tampere, Finland and Barcelona Barcelona Spain 2020.Created with 3D Sun-Path.

13 4. Case Study

4.1 Vuohenoja Landscape Artwork Competition

Mateus Manninen & Jaakko Lahti

Tampere, Finland

14 Figure 18. Network. Blender 3D and Photoshop illustration of the artwork in daylight conditions. 4.1.1 Conditions

The Tramway Development Programme, in collaboration with Tampere Art Museum, invited Finnish and foreign artists to take part in the landscape artwork competition for Tramway art in Tampere Finland.

The purpose of the competition was to procure an artwork for display along the Tampere Tramway and Hervanta main road which will be visible to the users of the tramway and the Hervanta main road (Figure 19). The site of the competition is between Tampere city center and the suburb of Hervanta where the University of Tampere is located. It’s a joint of the city area and a growing suburb area, only in four kilometers distance from the city center.

The aim of the art competition was to obtain an artwork which takes the

Tramway(under construction) proportions of the site into consideration; becomes an innovative landmark Adjacent light traffic route fitting in with its surroundings. It was mentioned in the competition programme that it’s important to take illumination or artificial light into account as part of the artwork, but it should also be visible during daylight Hervanta main road hours. [40]

I participated in the competition in collaboration with sculptor artist Jaakko Lahti.

4.1.2 Concept

Network is a concept of a glowing polymorphic sculpture, made of stainless Artwork location steel plates and integrated lighting. It’s a graph and an abstraction of a map. 3.9m x 4.9m x 3.9m The form of the piece refers to a plant. Figure 19. Illustration draft of the artificial lighting on the site of the artwork 15 Figure ?.Location of the competition for the artwork Like a shrub, the branches create a complex graph. The body of a shrub has a clear, round structure. (Figure 18)

Each branch is connected to its trunk, so everything is connected along the branches. A shrub has a network of its own, but it’s also connected to the ground and has a connection to other plants around it. Together they form gardens, forests and ecosystems. People have created similar networks, like the city. In a city network the tramway is one of the branches Figure 20 connecting people. Figures 20, 21 and 22. 3D The word networkhas multiple meanings and it creates different image drafts associations in different people, and so does the sculpture. In the end the (Blender). Illustrating the viewers give an individual or a collective meaning to the artwork. The behavior of direct sunlight artwork is only a reminder of the network and of the connection people and diffused skylight. have in the city and the plants have in the forest. The location of the sculpture along the Hervanta main road, between the greenery with trees and shrubs on the other side and a road and a tramway on the other, is a mix of these two visual networks, the mix of nature and city. Figure 21 Daylight brings the first form for the work. It penetrates through the holes and lines of the plates, folds the shadows of the shapes into the ground and the parts of the plates. Daylight reflects between the steel plates, creating momentary and lightness and, an illusion that the plates would float in the air (Figures 20-22)

The second form of the sculpture appears after sun set. The sculpture changes its shape as the lamps attached between the steel plates light up Figure 22 16 and reveal the glowing surfaces of the steel plates. The artificial light is materialized between the steel plates and fills the holes and gaps with the energy of light and growth. The lighting fixtures hidden inside the sculpture create the illusion that the sculpture itself is a source of light. In the dark, the sculpture uses these lighting fixtures to illuminate itself and its immediate surroundings. In practice, this is done by using solar panels and a daylight sensor to absorb the energy from daylight when it’s possible and to trigger the artificial lights on when it gets dark. Light bounces between the steel Figure 23 plates and escapes out of the lines and holes in the plates, exposing the glowing layers and corrugations of the plates. In the dark, the sculpture shines as a landmark in its surroundings (Figures 23-25)

4.1.3 Technical Solutions

The sculpture is made of stainless steel with circular plates about 35 mm thick, the highest of which would be 3900 mm. The span of the plates is 450 Figure 24 mm and there are eleven discs in total. The total weight of the boards is about 17t kilos. The plates are fastened to each other with four steel round bars (35 mm thick). The middle plate of the sculpture is attached to a supporting steel structure and this is supported by a “concrete cake” cast around it. The lines and holes are made with CNC technique. The lighting of the sculpture is realized with integrated LED profile luminaire. The electrification goes along Figures 23, 24 and 25. 3D with the round bars through the steel plates and underground to the electrical image drafts center. The small daylight sensor will be integrated into the middle plate, (Blender). Illustrating the next to a lighting fixture. Solar panels and a battery are placed close to the behavior of the integrated sculpture. (Figure 26) artificial light in Figure 25 the artwork. 17 PRODUCED BY AN AUTODESK STUDENT VERSION IEVIEW SIDE iue2.Iiiltcncldaig fNtokfrVoeoaLnsaeAtokCompetition. Artwork Landscape Vuohenoja for Network of drawings technical Initial 26. Figure RDCDB NATDS TDN VERSION STUDENT AUTODESK AN BY PRODUCED oceecake Concrete plates steel Stainless

PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION te on bars round Steel RDCDB NATDS TDN VERSION STUDENT AUTODESK AN BY PRODUCED O VIEW TOP

RDCDB NATDS TDN VERSION STUDENT AUTODESK AN BY PRODUCED RDCDB NATDS TDN VERSION STUDENT AUTODESK AN BY PRODUCED nertdLDpoieluminaire profile LED Integrated oceecake Concrete PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

RDCDB NATDS TDN VERSION STUDENT AUTODESK AN BY PRODUCED RDCDB NATDS TDN VERSION STUDENT AUTODESK AN BY PRODUCED 19 Figure 27. Network. 3D and Photoshop illustration of the artwork in artificial light conditions. 5. Analysis 5.1 Ambient Luminescence

Richard Kelly’s perceptual theory consists of three fundamental elements Kelly introduces ambient luminescence in his college paper "Light as an of visual design. These are ambient luminescence, focal glow and play of Integral Part of Architecture" (1952): brilliants, and in this paper they are used to discuss with the observations of the project above. “Ambient luminescence is the uninterrupted light of a snowy morning in the open country. It is foglight at sea in a small boat, it is twilight haze on a wide river where The theory is based on the visual recognition of elements that affect our shore and water and sky are indistinguishable. It is in any art gallery with strip- visual hierarchy of lit objects in the space. In addition to the visual lighted walls, translucent ceiling, and white floor. [...] It is also all we know of hierarchy of light in the space, I’m examining the visual hierarchy of "indirect" lighting.” [42] resources and materials, to figure out what kind of roles can artificial light The ambient lighting on the site of the competition consists of the street play in the artwork. lights of tramway, adjacent light traffic routeand the Hervanta main road. As mentioned earlier, Oksanen reflects Richard Kelly’s theory of the three The ambient luminescence is a gentle mist of artificial light surrounding fundamental elements of visual design, and considers that ambient the artwork from north, east and west (Figure 19, p. 15). Oksanen luminescence refers to light providing general illumination. Focal glow is mentions that ambient luminescence is a form of lighting that facilitates where light has the express task of actively helping to convey information, general orientation and activity [43]. The artwork is meant to be observed and the play of brilliants can be understood via that important quality of from the street, at least 10 meter away from the artwork, so the functional light, that it does not only draw our attention to the information, but it can lighting for the observers is supplied by street lighting. also represent information in and of itself. [41] 5.2 Focal Glow I will examine the case study project through Kelly’s three fundamental elements of visual design. Oksanen’s reflections from Kelly’s theory are “Focal glow is the follow spot on the modern stage. It is the pool of light at your used to analyze the visual hierarchy of lit objects in the space. Both of favorite reading chair. It is the shaft of sunshine that warms the end of the valley. It these will be used together as a tool for finding the main roles of light. is candlelight on the face, and a flashlight on a stair. [...] Focal glow draws attention, pulls together diverse parts, sells merchandise, separates the important from the (Table 3 & Figure 28, p. 21). unimportant, helps people see.” [44]

20 Richard Kelly’s perceptual theory of three fundamental elements of visual design applied to case study project

Ambient luminescence Focal glow Play of brilliants

Case Study Project. At the site of the competition the general The light of the integrated luminaries of The integrated lighting inside the Network- Competition for illumination of the surroundings of the the artwork that bounces between the artwork changes the way it’s perceived artwork is provided by the street lights of shining steel plates drags the focus into at night. At daytime the artwork is Vuohenoja Landscape tramway, adjacent light traffic route and the artwork also from a further distance illuminated outside by skylight and artwork, Tampere Finland the Hervanta main road, and also from the and it becomes a glowing landmark on the sunlight, but at nighttime the artificial lights coming from moving vehicles. (See area. Light conveys information of the light is coming inside the artwork figure 18 and 27) artwork, its materials and shapes. (See penetrating through the holes of the figure 27) stainless steel plates, manipulating the size, shape, color and materiality of the artwork. Therefore light represents information of itself as well. (See figure 27)

Table 3.Richard Kelly’s perceptual theory of three fundamental elements of visual design applied to case study project

Play of brilliants: light represents information in and of itself

Focal glow: light actively helping to convey information.

Ambient luminescence: light providing general illumination of the surroundings.

21 Figure 28. Demonstration of three fundamental elements in visual design in the site of Network artwork The integrated artificial light in the artwork conveys information of the 6. Discussion shape and material of the work. The sharp light bouncing between the shining plates drags the focus into the artwork also from a further distance, 6.1 The role of artificial light and it becomes a glowing landmark on the area. The light fills the gaps of the steel plates and pulls them together creating a more united entity. I will divide the roles of artificial light, adapting Kelly’s theory, as follows: Functional – light makes the space visible.

5.3 Play of Brilliants Supporting –light is a highlighter and drags the focus into the artwork.

“Play of brilliants is Times Square at night. It is the eighteenth-century ballroom of Leading – light is the artwork itself. crystal chandeliers and many candle flames. It is sunlight on a fountain or a rippling brook. It is a cache of diamonds in an opened cave. It is the rose window of Becker says that all artistic work involves activity of a number of people Chartres... Play of brilliants excites the optic nerves, and in turn stimulates the and resources [46]. Usually, the main resource or material used in the body and spirit, quickens the appetite, awakens curiosity, sharpens the wit. It is artistic process defines the category or a form with in arts. distracting or entertaining. “ [45] As Kivinen mentioned earlier, light art is a form of visual art in which light The lighting inside the artwork changes the way it’s perceived at night. At plays the role of the main material or a theme [47]. In Kelly’s theoryplay daytime the artwork is naturally lit by skylight and sunlight, but at of brilliants is the ‘‘cache of diamonds in an open cave’’ that ‘‘stimulates nighttime the light coming inside the artwork manipulates the size, shape the body and spirit’’, which also suggests that this illuminating element is and color of the artwork, representing a new layer of information of itself in a leading role in the visual hierarchy of lit objects. as well. The holes of the steel plates are turning into light sources. The InExample 1. The Water Nymphs(p. 8) artificial light as a resource in the light penetrating through the holes of the plates at daytime, creating artwork had afunctional andasupporting role. It was meant to make the wondrous shadows around the artwork, turns over and the light changes artwork visible at night and to help to express the original meaning of the its direction completely. The shining light holes become the main statue as well as emphasize the three-dimensionality of the artwork. information conveyor of the artwork (Figure 27, p. 19).

InExample 2. Silo 468 (p. 12) the old oil tank was a secondary resource in the artwork, where light had theleading role and was the main 22 information conveyor as well as the main material in the artwork. the surroundings and feel safe, light is also an information conveyor and exquisite resource in art. In the case study project, the role of artificial light can be seen as something in between the examples above. This is typical since light can, During summer time in the Nordics, when the sun is not setting, the due to it’s character, hardly ever play one role only. Artificial light had a artificial light in public artwork located outside doesn’t have that much of supporting andafunctional role, making the stainless steel sculpture and character. How to imply light art to public realm when it is possible that it’s surroundings visible as well dragging the focus. Additionally it also the artificial light is not visible at all (Figure 17, p.13). By using several told a story of its own, and in right circumstances, light could also have resources and materials in the artwork, it could be possible to vary their hadaleading role. roles depending of the time of the day and season.

Artificial light changed the way the artwork was observed. It transformed In the case study project we tried to make the artwork act on its best the shape and size of the artwork, filling the gaps and holes of the steel despite the season or time of the day. We wanted to combine the essence plates with light coming from the core of the artwork. Light as a resource of light art and sculpture art, and to define the act of daylight and artificial was integrated to the artistic process from the beginning and was deeply light in the artwork. In this paper, the focus was on scrutinizing the role of connected with the other resources and materials of the artwork, which artificial light as a resource in public art. Light being a relational material, impacted a lot on the outcome. we do not perceive it directly, but we perceive it interacting with other materials and surfaces [48]. When considering the role of light in the 6.2 Light in the Nordic Countries public art, we must look at the space, objects and surfaces to see how light interacts with them to understand the context of the design. As mentioned in the beginning of this paper, artificial light is a significant resource in public art, especially in Nordic countries where the winters are Nowadays the Nordic cities are almost covered with artificial light, so dark. In December, the city of Tampere would be almost pitch dark after people witness the interplay of artificial light and the objects of cities three o’clock without artificial light and, so would be all the artworks everyday. Artist, designers, engineers and people who work with the placed in the public realm (Figure 16, p. 13). In long winter periods we essence of light, are the ones who are working with the question, how the need artificial light to see and to be able to appreciate the artworks in light is interacting with the different spaces, objects and surfaces. public spaces. Beyond the functionality of light which ables people to see 23 In all the public art projects in Nordic countries executed these days, In the “Network” project the researcher was part of the artistic process, artificial light has some kind of a role and function depending on the which makes the aspect of the study quite narrow and subjective. Also, the project. analysis of the role of light is always somewhat subjective. Next step for the study would be to broaden the research with a wider range of public 7. Conclusion art projects interacting with light: e.g. temporary, performing and two- dimensional public artworks. It would also be interesting to take the The project “Network” was selected for the case study due to its relation technical aspects of light in public art into consideration. Technical data to light and its location. Light is one of the main materials in the artwork could be provided with measurements at daytime and night time, for and the outdoor spot next to the busy main road created an interesting example including illuminance and luminance measurements to observe combination. I wanted to observe the art in public realm because of its the qualities of light more carefully. Also, the created guidelines on how accessibility and the changing circumstances of outdoor space. I chose to illuminate the existing statues in the city by WSP Finland Oy (see p. 7) Richard Kelly’s lighting theory to help me categorize lighting in different could be studied to understand both the function and the role of artificial circumstances. This led me to the question about the role, position and lighting. purpose that artificial light has as a material.

The culture of artificial light has changed a lot in the past fifty years. It has formed its own character in art and architecture as its own material. Light art was identified as an art form in the late 20th century and it has been used in public art only for the past 20–25 years. Kelly’s theory has given tools for understanding and describing different phenomena and circumstances of light. Light and the behavior of light are abstract things to put into words. I wanted to regenerate the vocabulary of lighting culture with the defining words for rolesfunctional ( , supporting, leading), to find new angles for observing and describing the phenomenon of light. The gap between lighting design and light art can be blurry sometimes, so it is helpful to talk about the role of light in the artwork.

24 References [8] Neumann, Dietrich (2010).The Structure of Light: Richard Kelly and the Illumination [1] Enwistle, J & Slater. D. (2018).Light as material/lighting as practice: urban lighting of Modern Architecture. Yale School of Architecture. Yale University Press. and energy. Science Museum Group Journal, The Material Culture of Energy. Retrieved from http://journal.sciencemuseum.ac.uk/browse/issue-09/light-as-material/. [10.10.2020]. [9] Oksanen J. (2017).Design Concepts in Architectural Outdoor Lighting Design Based on Metaphors as a Heuristic Tool,pp. 72–74. Aalto University publication series, Aalto [2] Becker H.S. (1982).Art Worlds,p. 69. California University of California Press, Ltd. ARTS Books. Helsinki, Finland. London, England.

[3] Oksanen J. (2017).Design Concepts in Architectural Outdoor Lighting Design Based [10] UNESCO. Social and Human Sciences, Inclusion Through Access to Public Space. on Metaphors as a Heuristic Tool,pp. 72–74. Aalto University publication series. Aalto Retrieved from http://www.unesco.org/new/en/social-and-human-sciences/themes/urban- ARTS Books, Helsinki, Finland. development/migrants-inclusion-in-cities/good-practices/inclusion-through-access-to- public-space/. [3.6.2020].

[4] Kelly R. (1952). Lighting as an Integral Part of Architecture.College Art Association. College Art Journal, Vol. 12 (1), pp. 24–30. Retrieved from https:// [11] Jasiński, A. (2020).Public space or safe space – remarks during the COVID-19 pdfs.semanticscholar.org/717e/3043a826ab97cc397e0347cdd96228c26f5f.pdf. pandemic.Technical Transactions. e2020020. Retrieved from https://doi.org/10.37705/ [22.10.2020]. TechTrans/e2020020. [28.10.2020].

[5] Sturman, A. (1997).Case study methods. In: J.P. Keeves (ed.). Educational research, [12] Fisher D.H. (1996).Public Art and Public Space. An Interdisciplinary Journal. Vol. 79 methodology and measurement: an international handbook (2nd ed.), pp. 61–66. Oxford: (1/2), pp. 41–57. Penn State University Press Stable. Retrieved from http://www.jstor.com/ Pergamon. stable/41178737. [15.9.2020].

[6] Starman, A.B. (2013).The case study as a type of qualitative research.Journal of [13] Art Enclocypedia. Public Art, Definition, History, Types. Retrieved from http:// contemporary educational studies 1/2013, pp. 28–43. Retrieved from https:// www.visual-arts-cork.com/public-art.htm. [9.8.2020]. www.researchgate.net/publication/ 265682891_The_case_study_as_a_type_of_qualitative_research. [17.10.2020]. [14] ibid.

[7] Yin, R.K. (2009).Case Study Research; Design and Methods, pp. 100–125. Applied [15] Hein H. (1996).What Is Public Art?: Time, Place, and Meaning. The Journal of Social Research Methods Series, Sage Publications, 2009. Retrieved from http:// Aesthetics and Art Criticism. Vol. 54(1), pp. 1–7. The American Society for Aesthetics euroac.ffri.hr/wp-content/uploads/2010/06/Yin_2009_Case-Studies_Data-collection.pdf. Stable. Retrieved from http://www.jstor.com/stable/431675. [20.9.2020]. [15.10.2020]. [16] Fisher D.H. (1996).Public Art and Public Space.An Interdisciplinary Journal. Vol. [26] ibid. 79(1/2 pp. 41–57. Penn State University Press Stable. Retrieved from http:// www.jstor.com/stable/41178737. [15.9.2020]. [27] ibid.

[17] Pantzar K. (2015).Helsinki by Light,p. 13. Siltala Publishing. Helsinki, Finland. [28| Kivinen M. (2018).Ihmeellistä ja hämmästyttävää – valotaiteesta ja maailman suurimmasta diashowsta,p. 13. University of Arts Helsinki, Academy of Fine Arts. [18] Philips P.C. (1989).Temporality and Public Art. Art Journal. Vol. 48(4), pp. 331–335. Helsinki, Finland. Critical Issues in Public Art. Retrieved from https://www.jstor.org/stable/777018?seq=1. [22.9.2020]. [29] Blinnikova N. (2017).The History of Light in Art. ITMO University Journal, Department of Information Technologies. Retrieved from [19] Oksanen J. (2017).Design Concepts in Architectural Outdoor Lighting Design Based https://news.itmo.ru/en/education/trend/news/7179/. [25.9.2020]. on Metaphors as a Heuristic Tool,p. 13. Aalto University publication series, Aalto ARTS Books. Helsinki, Finland. [30] Lauson C. (2013).Light Show,p.17. Exhibition Catalogues: Hayward Gallery, London. The MIT Press, Cambridge, Massachusetts. [20] ibid. [31] ibid. [21] U.S. Patent 0,223,898, Wikipedia, Thomas Edison (13.9.2020) ??? [32] Turrel J. &Andrews R. (1982).Interview with James Turrel. In James Turrel: Works 1967–1992, p. 37. Exhibition Catalogues: Henry Art Gallery, Seattle. [22] Oksanen J. (2017).Design Concepts in Architectural Outdoor Lighting Design Based on Metaphors as a Heuristic Tool,p. 13. Aalto University publication series, Aalto ARTS [33] MK Illumination.How light art transforms cities and public spaces.Retrieved from Books. Helsinki, Finland. https://www.mk-illumination.com/article/how-light-art-transforms-cities-and-public- spaces/. [16.10.2020]. [23] Nyhus J. (2016).Light and Art in Public Spaces,p. 49. The Luci Light andArt Comission, Luci Association. Gothenburg, Sweden. [34]Pantzar K. (2015).Helsinki by Light,p. 13. Siltala Publishing. Helsinki, Finland.

[35] Lux Helsinki 2020. Retrieved from https://www.luxhelsinki.fi/. [11.10.2020]. [24] ibid.

[36] ArchDaily. (2012). Silo 468 / Lighting Design Collective. Retrieved from https:// [25] ibid. www.archdaily.com/298912/silo-468-lighting-design-collective. [01.11.2020]. [37] ibid. [46] Becker H.S. (1982).Art Worlds, p.69. California University of California Press, Ltd. London, England. [38] Plummer H. (2012).Nordic Light: Modern Scandinavian Architecture. Thames & [47|Kivinen M. (2018).Ihmeellistä ja hämmästyttävää – valotaiteesta ja maailman Hudson, London. suurimmasta diashowsta,p. 13. University of Arts Helsinki, Academy of Fine Arts. [39] Schielke T. (2014).Light Matters: Whiteness in Nordic Countries. ArchDaily. Helsinki, Finland. Retrieved from https://www.archdaily.com/542503/light-matters-whiteness-in-nordic- countries. [31.10.2020]. [48]Enwistle, J & Slater. D. (2018).Light as material/lighting as practice: urban lighting and energy. Science Museum Group Journal, The Material Culture of Energy. Retrieved [40] Tampereen Ratikka 2020. Competition for Vuohenoja Landscape Artwork. Retrieved from http://journal.sciencemuseum.ac.uk/browse/issue-09/light-as-material/. [10.10.2020]. from https://www.tampereenratikka.fi/art/competition-for-vuohenoja-landscape-artwork/. [20.1.2020]

[41]Oksanen J. (2017).Design Concepts in Architectural Outdoor Lighting Design Based on Metaphors as a Heuristic Tool,pp. 72–74. Aalto University publication series, Aalto ARTS Books. Helsinki, Finland.

[42] Kelly R. (1952).Lighting as an Integral Part of Architecture. College Art Association. College Art Journal, Vol. 12(1), pp. 24–30. Retrieved from https://pdfs.semanticscholar.org/ 717e/3043a826ab97cc397e0347cdd96228c26f5f.pdf. [22.10.2020].

[43]Oksanen J. (2017).Design Concepts in Architectural Outdoor Lighting Design Based on Metaphors as a Heuristic Tool,pp. 72–74. Aalto University publication series, Aalto ARTS Books. Helsinki, Finland.

[44] Kelly R. (1952).Lighting as an Integral Part of Architecture. College Art Association. College Art Journal, Vol. 12(1), pp. 24–30. Retrieved from https://pdfs.semanticscholar.org/ 717e/3043a826ab97cc397e0347cdd96228c26f5f.pdf. [22.10.2020].

[45] ibid. List of Figures Figure 13. Lux Helsinki 2015, OVO by ACT Lighting Design from Belgium. Image by Panu Lempiäinen 2015. https://panunmatkat.com/2015/01/07/lux-helsinki-2015/#jp- Figure 1.-3. Images of three fundamental elements of visual design. Images by Mateus carousel-10195 [5.1.2021] Manninen, Blender 3D visualization. Figure 14. Silo 468 outside.Image by Niklas Sjöblom / taivasalla.net 2013. http:// Figure 4. Image ofBlack Lives Matter sign and the face of a George Floyd are projected taivasalla.net/2013/09/130908_2052_kuvat.html [8.1.2021] onto statue of Confederate General Robert E. Lee in Virginia. Image location: University of Virginia, School of Architecture. Image by Alexis Armond. https:// Figure 15. Silo 468. Image by Niklas Sjöblom / taivasalla.net 2013. http://taivasalla.net/ www.arch.virginia.edu/ccl/news-ccl/blacklivesmatter [2.1.2021] 2013/03/130327_1938_kuvat.html [8.1.2021]

Figure 5. Image of Humphry Davy demonstrating his new electric light for the members of Figure 16 and 17. Cartesian Sun-Path of Winter Solstice and Summer Solstice in Tampere, the Royal Institution of London, 1809. Image location Rutgers University, Image by Finland 2020. Created with 3D Sun-Path. Results from 3D Sun-Path. http:// Queens Borough Public Library. https://edison.rutgers.edu/latimer/davy.htm [14.10.2020] andrewmarsh.com/apps/staging/sunpath3d.html [16.11.2020]

Figure 6. Guidelines on how to illuminate existing statues in the city of Helsinki. Helsingin Figure 18. Network illustration. Blender 3D and Photoshop illustration of the daylight keskustan taideteosten valaistuskartoitus ja valaistuksen suunnittelu (Lighting mapping and condition of the artwork by Mateus Manninen.’ lighting design of artworks in the city of Helsinki) report and image by WSP Finland Oy [17.12.2013]. Figure 19. Illustration draft of the artificial lighting on the site of the artwork by Mateus Manninen Figure 7. List of different lighting types. Helsingin keskustan taideteosten valaistuskartoitus ja valaistuksen suunnittelu (Lighting mapping and lighting design of Figure 20, 21 and 22. 3D image drafts, created with Blender 3D, illustrating the behavior of artworks in the city of Helsinki) report and image by WSP Finland Oy [17.12.2013]. direct sunlight and diffused skylight by Mateus Manninen.

Figure 8. Technical drawing by WSP Finland Oy. Image by WSP Oy Finland. [12.11.2020] Figure 23, 24 and 25. 3D image drafts, created with Blender 3D, illustrating the behavior of the integrated artificial light in the artwork by Mateus Manninen Figure 9.-10. Water Nymphs Esplanade Park, Helsinki. Images by Mateus Manninen. Figure 26. Technical drawings of Network by Mateus Manninen Figure 11. Lázlo Moholy-Nagy’s Light Prop for an Electric Stage (1928-30) . Image by Wikiart Visual Art Encyclopedia. https://www.wikiart.org/en/laszlo-moholy-nagy/light- Figure 27. Network. 3D and Photoshop illustration of the artificial light condition of the space-modulator-1930 [2.1.2021] artwork by Mateus Manninen.

Figure 28. Illustration of three fundamental elements in visual design in the site of Network Figure 12. Skyspace by James Turrell, Outside Insight, 2011. Study visit with KTH artwork by Mateus Manninen. ALD19-20 students. Image by Mateus Manninen 2020.