Emphatic Absence. AF270X May 2020 MSc Architectural Lighting Design | 2020 | Sweden | 2020 | Design Lighting Architectural MSc www.naturalism.com KTH | | KTH MAY 27 2020 INVESTIGATING THE EMOTIONAL RESPONSE TO CONTRAST By m e a n s of CHIAROSCURO MAY 27 2020 naturalis 3 m Preface Common ground in Architecture is the pursuit of balance through the use of contrasts. The formation, order, and materiality of an idea reverberate in space like bordering echoes in search of balance. Contrast is the unbreakable relationship between figure and background, The mimesis of form is the whisper of contrast. Figure and background in harmony transcend their materiality beyond the rational perception of space.* Through light and darkness interplay, we can create something beautiful out of something so unbelievably mundane and regular and so, as much as daylight is an important factor, the opposite is as important to a storytelling piece of art or architecture; to this feeling like you are in a kind of zones of a recluse, where you feel alone and you feel contented; That sort of contrast that is so much more powerful, that can definitely lead to a complete metamorphosis of a space, a feeling, a painting. Being always ''a lover of the obscure'', i remember myself finding consolation in spaces with luminance diversity and high contrasts. Maybe my background affection towards theater and dramatic composition of paintings drove me towards this direction. We all love Light. I learned to love and appreciate it through darkness. MARIA PAPAPANAGIOTOU Interior Architect & Designer MSc Architectural Lighting Design Course Responsible - Isabel Dominguez Tutor – Foteini Kyriakidou Author - Maria Papapanagiotou © 2020 ALL RIGHTS RESERVED * DiVeceArquitectos _ Contrast In Balance METROPOLIS• Alan Schaller © • 2019 Abstract Personal preference to darkmospheres , light corners & generally high contrasted views and spaces, as well as a curiosity of investigating other opinions & responses, were the driving force for conducting this survey. Regarding my subjective perception and since, after all, the matter of taste and subjectivity is quite strong in this kind of investigations, I’ve always found solace in environments that were staged with different segments of light and darkness; whenever I was in a room, I would immediately turn off the general lighting and turn on different and multiple other light sources, trying to combine atmospheres and, of course, keep some intact dark corners. And that was always a matter of arguing between myself and most of my acquaintances. Also, as an art lover, the absolute drawing technique of contrast, chiaroscuro, is also my favorite one. These characteristics of sharp shadows-strong contrasts and the theatrical, spotlight effect, can dramatically provoke feelings, but of which kind? What is the general perception and emotional response to high contrasted environments & views? My belief, despite my personal taste, is that the effect of high contrast lighting environments is mainly associated with feelings that have a negative aesthetic tone, and thus, this significant design value is not used as much; Based on these assumptions, the purpose of this research is to investigate whether perceptions of contrasts in the lighting design of space are related to subjective preference ratings deriving from negative or uneasy feelings. A mixed approach of qualitative and quantitative findings, combining background research along with a survey was held, and, in general, it demonstrates a distinct correlation between levels of contrast as stimuli and feelings aroused. Although contrast does play a significant role in arousing strong feelings, by increasing and stimulating our perception, albeit we are probably negatively attracted to it. Given images of high contrasted –in terms of lighting quality- environments were associated mostly with feelings of anxiety and tension by the participants of the survey; thus, a balance between coherence and valence factors and complexity/arousal feelings is a prerequisite, in order to positively approve a new environment. Contrast as a design value, is characterized by contrasting feelings and, that is its most powerful value; it's an influential design tool and the essential force within the articulation of both style and communication. It, therefore, deserves a wider use and appreciation. 07 Introduction 13 Chiaroscuro 21 Architectural Chiaroscuro Cont ents 27 Methodology 32 Analysis – The psychology of contrast 43 Discussion 47 Conclusion 49 Bibliography Introduction 07 Investigating Darkness Darkness can bring us certain things, it can bring privacy, it can bring silence it can bring qualities of intimacy. Concealment is not always a bad thing; we have as much of a right to be concealed as we do to be seen. - Dark city : Mark Major at TEDx Sydney 2014 Light and darkness inevitably coexist in an endless battle for dominance, but at the same time in a relationship of mutual support; there can be no one without the existence of the other. Usually, when this coexistence is strongly unified through the use of intense shadows and contrasts, the three-dimensional display is overemphasized and our visual perception stimulated.¹ Light loses its strength without its opposite and only in the presence of shadows and darkness does it become clear and can, therefore, be appreciated.² Speaking about light, sight is a prerequisite and involves the realization of the 3-dimensional world that surrounds us as well as the 2d magical one of Art, through paintings, renderings, photographs. And, when referring to Art, we know that it is, in general, a variety of human activities in the development of visual, sound-related, or performing artifacts reflecting the imaginative of the author, a range that goes as far back as to our very own existence. Since the first attempts to immortalize the natural world from prehistoric times to the various kinds of modernism in painting, man has always resorted to painting as a means of expressing and rendering impressions and emotions. Initially using simple lines, forms were depicted with a completely simple and flat performance, retaining only their basic features. Then the effort evolved with the use of shadows and contrasts, with the ultimate goal of attributing realism in the designs. The apogee of use and absolute familiarity with the management of shadows and contrasts in the depiction of reality through paintings, comes with the dissemination and use of the ultimate painting technique of chiaroscuro, starting from approximately the late 15th century A.C. Starting from the art of paintings, where contrast in lighting plays an absolute significant role, the technique of chiaroscuro is used in this research, as the basis referring to the intense correlation of light & darkness, both in paintings & architecture. 08 “I consider this work, if you permit me, to be rather good and (something) which will get better over time. I have tried to put some poetic imagination into it, though not in order to create poetic architecture but to make a certain kind of architecture that could 1978 emanate a sense of formal poetry.” - - Carlo Scarpa on his design for Brion Tomb. A fine example of architecture, where contrast in lighting design –in terms ∙ 1969 ∙Italy Cemetery with a minimalistic approach on textures and materials so as to reinforce Brion ∙ the dominance of light & darkness play- has a significant role in creating mood and feelings Scarpa Carlo Carlo : PHOTOS According to the records of human evolution, from the campfires of our cave-dwelling ancestors to the spirit lamps still used where there is no electricity,³ we seem to be comfortable with the existence of high contrast ratios in the lighting levels of space, a relative atmosphere of darkness and different illumination levels, especially when it comes to our residencies.⁴ After the industrial revolution and the irrational use of artificial lighting, it seems that we have lost somehow the original contact with the design and usage of this so important design principle of contrast. Driven by beliefs and ideas that go far back in time and basically have to do with religious and existential concerns, we continue to condemn the darkness, keeping it still intertwined with negative concepts and approaches. This retrograde conception of darkness, along with the existing legislation regarding the lighting design of a space - where functionality stands mostly for uniform and big amounts of light in a space – I believe that leads to an insufficient use of contrast in the architectural lighting design, A general appreciation of more 'calming'' and ''flat'' lighting schemes is seemingly being preferred by most of the people. Existing research has produced conflicting results regarding the magnitude of preferred contrast and luminance variability in architecture: while some studies have found a relationship between increased luminance diversity and positive preference, others have found that while some variation in luminance creates a stimulating 09 environment, excessive variability tends to create uncomfortable spaces.⁵ Recent studies with luminance mapping techniques incorporate a threshold luminance value, where exceeding values are likely to cause occupant discomfort.⁶ Actually motivated by the lack of frequent use of luminous diversity in spaces, my thesis attempts to investigate our perception of contrasts, that is often disregarded by the dominance of brightness; Is our perception of contrasts in the lighting design of a space,