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Indoor lighting
Outdoor lighting
Lighting control
Lighting technology
Glossary
The perception-orientated
lighting design of the 1960s no
longer considered man and his
needs as a mere recipient of his
visual surroundings but as an
active factor in the perception
process. The designers analysed
Richard Kelly William Lam what was the significance of the
individual areas and functions.
Using the pattern of meaning
thus established, it was then
possible to plan the lighting as
a third factor and to develop an
appropriate lighting design. This
required qualitative criteria and a
corresponding vocabulary, which
in turn allowed both the require-
ments placed on a lighting system
and the functions of the light to
be described.
Play of brilliants
The third form of light, ”play
of brilliants“, results from the
insight that light not only draws
our attention to information, but
can also represent information in
and of itself. This applies above
all to the specular effects that
point light sources can produce
on reflective or refractive materi-
als. Furthermore, the light source
itself can also be considered to be
brilliant. This ”play of brilliants“
can add life and ambiance, espe-
cially to prestigious venues. What
was traditionally produced by
chandeliers and candlelight can
now be achieved in a modern
lighting design by the targeted
use of light sculptures or by cre-
ating brilliant effects on illumi-
nated materials.
Contemplation
Eye and camera The process of perception is ration – light of various wave-
frequently explained by compar- lengths is refracted to varying
ing the eye with a camera. In the degrees, which produces coloured
case of the camera, an adjust- rings around the objects viewed.
able system of lenses projects These defects, however, are elimi-
the reversed image of an object nated when the image is being
onto a film. The amount of light processed in the brain.
is controlled by a diaphragm.
After developing the film and
reversing the image during the
enlarging process, a visible, two-
Spherical aberration. Projected dimensional image of the object
images are distorted due to the becomes apparent. Similarly, in
curvature of the retina. the eye, a reversed image is pro-
jected onto the retina of the eye
via a deformable lens. The iris
takes on the function of the dia-
phragm, the light-sensitive retina
the role of the film. The image
is then transported via the optic
nerve from the retina to the brain,
where it is adapted in the visual
cortex and made available to the
conscious mind.
In regard to the eye, however,
there are considerable differ-
ences between what is actually
perceived and the image on the
retina. The image is spatially
distorted through its projection
onto the curved surface of the
retina. Through chromatic aber-
Chromatic aberration. Images are
blurred due to the various degrees
of refraction of spectral colours.
Rods The older of these two systems, the centre of our field of vision.
from an evolutionary point of The rod system is extremely sen
view, is the one consisting of rods. sitive and is activated when the
The special attributes of this sys- illuminance level is less than 1 lux.
tem include high light-sensitivity Our night vision features, particu-
and a great capacity for perceiv- larly the fact that colour is not
ing movement over the entire evident, contours are blurred and
field of vision. On the other hand, poorly lit items in our peripheral
rods do not allow us to perceive field of vision are more visible
colour; contours are not sharp – can be explained by the proper-
and it is not possible to concen ties of the rod system.
Relative spectral luminous effi- trate on objects, i.e. to study
ciency of rods V and cones V’ in items clearly even if they are in
relation to the wavelength
Cones The cones form a system with cally drawn to these points. This
very different properties. This is is then received as an image on
a system which we require to see the fovea to be examined more
things under higher luminous closely. Apart from noticing sud-
intensities, i.e. under daylight or den movement, striking colours
electric light. The cone system and patterns, the main reason
has lower light-sensitivity and is for us to change our direction of
concentrated in the central area view is the presence of high lumi-
in and around the fovea. It allows nances – our eyes and attention
us to see colours and sharper are attracted by bright light.
contours of the objects on which
Spectral colour sensitivity of the we focus, i.e. whose image falls
cones in relation to the wave- in the fovea area. In contrast to
length rod vision, we do not perceive the
entire field of vision uniformly;
the main area of perception is in
the central area. The peripheral
field of vision is also significant,
if interesting phenomena are
perceived in that area; in that
case our attention is automati-
Day and night One of the most remarkable faintly glowing star in the night
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3TREET LIGHTING sunlight, although there is a dif-
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the illuminance. The extent of
tasks the eye is capable of per-
forming is extremely wide – a
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Luminance This ability to adapt to the illumi the same time. The eye adapts to
nance is only influenced to a very cover one narrow range in which
small extent by the pupil. Adap- differentiated perception is pos-
tation is performed to a large sible. Objects that possess too
degree by the retina. The rod and high a luminance for a particular
cone system responds to differ- level of adaptation cause glare,
ent levels of light intensity. The that is to say, they appear to be
, CDM rod system comes into effect in extremely bright. Objects of low
relation to night vision (scotopic luminance, on the other hand,
vision), the cones allow us to see appear to be too dark.
during the daytime (photopic
Luminance range L of rod vision vision) and both receptor systems
(1), mesopic vision (2) and cone are activated in the transition
vision (3). Luminances (4) and times of dawn and dusk (mesopic
preferred luminances (5) in inte- vision).
rior spaces. Absolute threshold of Although vision is therefore pos-
vision (6) and threshold of abso- sible over an extremely wide area
lute glare (7).) of luminances, there are clearly
strict limits with regard to con-
trast perception in each individual
lighting situation. The reason for
this lies in the fact that the eye
cannot cover the entire range of
possible luminances at one and
Adaptation time Adapting from dark to light situ- be accommodated by the eye
ations occurs relatively rapidly, within a certain range and the
whereas adapting from light to fact that it takes time to adapt to
darkness requires a considerably a new level of lighting, or bright-
longer time. A good example ness, have an impact on lighting
of this is how bright we find it design. For that reason lighting
outside having come out of a design requires, for instance, the
dark cinema auditorium during purposeful planning of different
the daytime or the transitory luminance levels within a space
period of night blindness we or deciding on the adaptation of
experience when entering a very lighting levels in adjacent spaces.
dark room. Both the fact that
contrast in luminance can only
Perspective Size
Activity
The value of any particular
information relates to the cur-
rent activity of the observer.
This activity may be work or
movement-related or any other
M activity for which visual infor
M
mation is required. Lighting con-
ditions under which the visual
task can be perceived to an opti-
mum degree can be determined
from the above-mentioned spe
cific features. It is possible to
define ways of lighting which
will be ideal for specific activities.
M
Information There is another basic need for buildings, the situation is often
visual information that goes considered to be unnatural and
beyond the specific information oppressive.
required for a particular activity.
This is not related to any particu-
lar situation, it results from man’s
biological need to understand the
world especially man’s need to
feel safe. To evaluate danger, we
must be aware of the structure
of the environment. This applies
to orientation, weather ,time of
day and information relating to
other activities occurring in the
area. If this information is not
available, e.g. in large, windowless
Visualising light
Applications
Projects:
Private home, New South Wales
Heart of Jesus Church, Munich
Teattri Ravintola, Helsinki
ERCO, Lüdenscheid
Projects:
Conrad International Hotel,
Singapore
Lamy, Heidelberg
Ezeiza Airport, Buenos Aires
Light and Building, Frankfurt
Applications
Projects:
Tokyo International Forum
International Hotel, Singapore
Palacio de la Aljaferia, Zaragoza
Catedral de Santa Ana, Las Palmas
Outside – looking
outside
Applications
Projects:
Museum Georg Schäfer,
Schweinfurt
Catedral de Santa Ana, Las Palmas
DZ Bank, Berlin
Guggenheim Museum, Bilbao
Applications
Projects:
Miho Museum, Osaka
Harvey Nichols Restaurant,
London
Private home, New South Wales
ABN AMRO, Sydney
Projects:
Lamy, Heidelberg
Ritz-Carlton, Singapore
“Dat Backhus” bakery, Hamburg
Blue Lagoon Spa, Reykjavik
Applications
Projects:
Hong Kong Convention and
Exhibition Centre
Miho Museum, Osaka
Federal Chancellery, Berlin
Private home, Milan
Projects:
Pinacoteca Vaticana, Rome
Guggenheim Museum, Bilbao
Hermitage, St. Petersburg
Hermitage, St. Petersburg
Spotlights
Conclusion The narrower the beam of light
cast on the object, the stronger
the effect. Sculpture lenses are
particularly suitable for project-
ing light at objects over their
entire height. With their wide
light beam, flood lenses illumi-
nate the surroundings stronger
and represent the object in its
spatial relationship.
Flood lens
Sculpture lens
Applications Highlighting is used for modelling
objects in:
- museums
- exhibitions
- salesrooms
Preferred luminaire groups
- spotlights with accessories
Projects:
Bunkamura Museum of Art, Tokyo
Museo del Prado, Madrid
Vigeland Museum, Norway
Hermitage, St. Petersburg
1:1
Conclusion When the brightness contrast
of the ambient surroundings to
the object is 1:2, a contrast can
hardly be noticed. When the ratio
is 1:5, a minimum brightness
contrast is established between
primary and secondary points of
interest. A contrast of 1:10 brings
out the difference very well. A
brightness contrast of 1:100
detaches the object very strongly
from its ambient surroundings
1:5 but an unintentional dissection
of the wall can arise.
1:10
Applications Highlighting of objects on walls is
a practice used in:
- museums
- exhibitions
- trade-fair stands
- salesrooms
Projects:
Museo Ruiz de Luna Talavera,
Spain
German Architectural Museum,
Frankfurt
Guggenheim Museum, Bilbao
Museo Picasso, Barcelona
Projects:
Sony Center, Berlin
Glass pavilion, Glass technical
college, Rheinbach
Hong Kong and Shanghai Bank
ERCO, Lüdenscheid
Projects:
ERCO P3, Lüdenscheid
Zürich Insurance, Buenos Aires
Teattri Ravintola, Helsinki
Teattri Ravintola, Helsinki
Projects:
Shop Colette, Paris
Greater London Authority
Teattri Ravintola, Helsinki
ERCO Trade Fair, Hanover
Daylight
Continuous spectra lead to good
colour rendition. Incandescent
lamps or daylight have the colour
rendition index Ra 100.
Fluorescent lamp
Discharge lamps such as fluores-
cent lamps or metal halide lamps
feature a multiline spectrum.
Their colour rendition is therefore
lower than Ra 100.
Applications
Projects:
Saab City, London
Light and Building 2000,
Frankfurt
Restaurant Aioli, Vienna
Teattri Ravintola, Helsinki
Projects:
Polygon Bar, London
Greater London Authority
Tennispalatsi Cultural Museum,
Helsinki
Apropos Cöln Concept Store,
Cologne
Projects:
Museo de Bellas Artes, Bilbao
Zürich Insurance, Buenos Aires
Teattri Ravintola, Helsinki
Light and Building 2002,
Frankfurt
Mounting Maintenance
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