Introducing low light levels and contrast to indulge

multi-sensorial design

A master thesis submitted to the KTH Royal Institute of

Technology, Stockholm in candidacy for the Degree of
Master of Science (MSc) in Architectural Lighting Design
and Health, Department of School of Architecture and the
Built Environment.
Course Code: HS202X

by Alexia Gkika

Tutor
Federico Favero

Stockholm, December 2015

3
 Memories establish the past;
Senses perceive the present;
{ Imaginations shape the future.

― Toba Beta, My Ancestor Was an Ancient

Astronaut
{

4 5
Setting a Vision
Day and night, two clearly dened lighting conditions.
From the beginning of humanity, day is linked to natural
light and night to its absence, which results to darkness.
A rhythm that creates a natural sequence, where
light and darkness coexist, succeeding one another.
Since the introduction of electrical light until today, the
nocturnal appearance of urban and interior architectural
environments becomes steadily brighter.
Safety restrictions and legitimation requirements have
trusted building experts to set standards to prevent
accidents, maintain sharp visual clarity and serve user’s
requirements. Lighting design emerged as a profession
due to the need for better-lit environments. Designers
deliver lighting design schemes, considering standards
and employing design parameters. Various lighting
effects are used to ensure that the designed space will
meet the qualications o a predetermined rame based
on the function of the designed space.
Designing an interior space with light requires
designers to consider providing sucient illumination
for the performed task but also create a pleasant
ambience where users are encouraged to refect upon.
Often lighting designers face various contradictions
between lighting standards and human visual and
spatial perception. Being concerned to meet uniformity
requirements, lighting schemes focus mainly on the
12 Introduction
satisfaction of the visual sense, which has dominated
people’s contemporary existence. Spatial perception
relies on all human senses, from which sensorial stimuli
is constantly collected and elaborated unconsciously by
the brain. Therefore, meeting requirements that indulge
solely the visual sense would only result to partial
appreciation of the experienced environment. The
intellectuality of the human sensorial system compared
to the solidity o pre-set quantiable metrics expresses
a pervading tendency towards sensorial negligence
through architectural environments. Nature has always
been invincible source of sensorial stimuli. However,
as people accumulate increasingly in urban centres,
it is essential to maintain and practice our sensorial
sensitivity through our relation with architecture, as
it is mostly what citizens of urban centres are merely
surrounded from.
The idea of using darkness to promote a multi-sensorial
architectural experience came on the basis of darkness
being considered as a design tool, tossing notions and
preconceptions on the interrelation between darkness
and evil. Darkness has been gradually pushed away
from our daily life, as electric light becomes more
accessible and energy ecient. Every year, we notice
our environments growing brighter, failing to preserve
nature’s natural rhythm between day and night.
Incorporating into the standards a metric dedicated to
ensure darkness preservation would perhaps be one
way to obviate further visual overstimulation and turn
the spotlight to the importance of darkness in spatial
perception.
Lighting designers’ utter goal is to provide adequate
amount of light where is needed. It is often observed
that lighting schemes wash the entire space with light to
satisfy the standards without focusing on the important
areas to be highlighted. In that way, the essential
hierarchy that assists the brain to lter the inormation
to be stored, is missing. Feeding the eye as the only
medium to receive information from our environment is
being under question in this investigation. So far most
of the times, we use light to see the space. What if we
used in addition darkness in order to feel the space?
Spatial perception has a strong impact on a person’s
psychology. Indirectly, it determines the impression
one shapes of the experienced environment. Most of
the times, when confronting crowded environments it
results to overstimulation and mental confusion. The
main reason for this reaction is the absence of hierarchy
and the ignorance one feels of the importance the
perceived elements carry.
Light treats our eyes. Darkness deliberates our senses.
The following master thesis intents to concentrate on
how darkness, shadow and contrast embody powerful
design tools for designing indoor spaces. When
electrical light overtakes the task of providing light both
functional and aesthetical parameters need to be taken
into account. Apart from enabling visual tasks, light has
also the ability when partnered with darkness to create
mesmerising moments to treat the eye, the soul and the
brain.
The impression of the world one sees through his eyes
is determined by the fundamental interdependence of
light, shadow and materiality. We see texture due to
the instant coexistence of light and darkness. In order
to perceive materials accurately, we need these dark
areas, which will make us recognise the material and
further send the right signal to the brain. So, when
darkness is mentioned, we should not only relate it to
a stable uniform situation of the physical environment.
There are many shades of darkness, many variations
of shadow. Darkness is a dependent term. It cannot be
dened when other crucial terms are not included in the
denition. It is all about ratios; ratios that hold or break
the balance between the involved terms, changing in
the same time the perception of the judged space.
Introduction 13

Denitions
Dening darkness could potentially lead to various
personal denitions. As the topic o this thesis deals with
the role of darkness in lighting design, it is reasonable
to attempt setting the context in which the term will be
used in this thesis. Undeniably, the rst thought people
have when thinking of darkness is the dominance
o total black in the visual eld accompanied by ear
and discomfort. Existential darkness occurs when our
physical environment lacks a light source, either natural
or articial. In the lighting world though, darkness proves
to be a complicated term. Referring to a range of lighting
conditions, darkness can not be simplied as a solid
situation. Darkness is an essential component to trigger
human senses, therefore it worth making an effort to set
a frame around the word and see how it can be used to
benet architectural environments.
a. Darkness
Dictionary denitions1
1. A place where partial or total absence of light occurs
2. The characteristic of a shade that leans towards
being black in comparison with other shades
3. Dicult to understand, obscure
4. Having richness or depth: e.g. a dark, melancholy
vocal tone
All o these denitions enclose interesting aspects o the
term that worth discussing.
16 Denitions
As analysed further below, we often seek to describe the
essence o both light and darkness. The rst denition
refers to a place where partial or total absence of light
occurs. This denition is o great value not only due to
its vagueness, but most importantly because of the fact
that darkness is linked to the place described. In other
words, darkness appears to be a component of a place.
Every place contains darkness. Darkness preexists
long before people decide to add light in a space. It is
therefore wiser when talking about light and darkness
to underline this difference. Light is designed and
applied, darkness is designed and preserved. Hence,
refecting on the title o my thesis, darkness is reerred
as preservation of the pre-existential darkness or the
designed darkness that can be used as a tool to create
multi-sensorial indoor environments.
The second denition expresses the essence o
darkness as a term heavily dependent on comparison.
We judge and make up our mind by comparing two or
more conditions, either directly or mentally, based on
impressions stored as memories and past experience
in our brain. We need variety of shades, contrasts,
colours and luminance levels to decide where darkness
begins. The decision can only be true for the accounted
conditions each time.
The third denition describes darkness as something
Light thinks it travels aster than anything but
it is wrong. No matter how ast light travels, it
{ nds that darkness has always got there rst
(...)2
― Terry Pratchett, Reaper Man
{
dicult to understand, or obscure. This is mainly the
reason we unconsciously relate darkness to distant
entities or evil forces. We seem hesitant to explore what
darkness can offer because we do not fully understand
it. However, it is worth mentioning that we have had, if
still not have, the same issue when it comes to light.
Gradually, we gained understanding, mastered its
behaviour and used it to our benet. Why not doing the
same for darkness?
Darkness is also dened as an element, which adds
richness and depth to a space. In this case, the term
is not meant to be translated as total absence of light,
but as a value that enhances the perception of a space.
Imagine having a portrait outlined on a white canvas.
Our eyes can clearly see the sketched face, as the
lacking shadows derive from our past references and
our imagination. We have learned that the brain tends
to complete the unnished picture using retrieved
memories. Darkness is then the piece of coal used to
bring up the multiple levels of the human face, adding
depth where the skin is shadowed and leaving the white
canvas untouched where the face outstands. Without
the shadowed areas, the ace looks fat, lacking three-
dimensionality and character. In the same way, vanishing
pre-existential darkness by fooding the space with
uniform light will result to a dull space without visual or
sensual interest but yet visually perceived to its entirety.
Back to Basics 17
 The process o perception is the linking
o sensory stimuli with previous
{ experience.3
―Peter Tregenza & David Loe,
The Design o Lighting
Subjective denitions
When talking about darkness, it is essential to take
in account possible subjective denitions. Subjective
judgements and personal associations are often
infuenced by experience, culture or even climate
conditions. Former experience shapes people’s
interpretation of the world. The perceptual end result
comes together as pieces o a puzzle infuenced by
visual and sensorial parameters.
Sometimes, the outcome of each parameter leads to
contradictory results; in these cases our eyes are fooled
and thus other parameters, linked to the rest of our
senses, are tested until a rational conclusion is made.
We often struggle to envision light’s dimensionality. Light
fows, it travels through a space, gets refected, reracted,
scattered etc. On the other hand, darkness strongly
impacts the space with its apparent dimensionality.
Darkness can never be plain. When applied in a space
it creates volume, increases depth and saturates our
sensorial and spatial experience.
The main difference between light and darkness in
that light enters human existence when its rays hit
the retina, whereas darkness exists around us. We
do not have a direct contact with contrast, shade or
shadow; they can only be experienced from a distance.
18 Denitions
{ Fig. 1: Graphical representation of different types of twilight.
Possibly this fact contributes to the theory related to
darkness as an evil element of nature. On the other
side, light is embraced as a holy element. Both views
are products of religious prejudices, mentally linking the
opposites of heaven and hell with light and darkness
respectively. Light and darkness are hence promoted as
opposite values dominating our mind for years as such.
However, the interrelation of light and darkness results
to enhancement of each other’s qualities, implying more
a complementary character rather than an opposite.
b. Hours of Darkness - Twilight
Twilight is a set period of the day when the sun is located
below the horizon to some degree. Depending on the
angle between the geometrical centre of the sun and
the horizon line, astronomers have further categorise
the phases of twilight to civil, nautical and astronomical
twilight4. Each twilight phase lasts approximately 30
minutes depending on the season of the year and the
latitude. Scientically, twilight is caused when the sun’s
rays, found still below the horizon line, are refracted by
the lower atmosphere of the Earth and scattered to the
rst layers o air mass.
This phenomenon results to a glowing effect –that
paints the sky with natural colours of light. Depending
on the twilight phase, the colour palette shifts from
warm golden tones to cooler ones, until total darkness
falls during nighttime. This time of the day appears to
be something like a stepping stone over the course of
the day. Occurring twice per day, once before dawn and
once after dusk, twilight is the transition time when day
takes charge over night and vice versa. It is when as
a miracle we have both light and darkness blending
in together in ever-changing quantities and qualities,
dominating one another and creating a nuanced palette
of lighting atmospheres. There is something seductive
during twilight time, originating from the fact that there
is no other moment of the day when one feels stronger
the presence of time. When the sun is high in the
sky, people tend not to perceive how fast time goes,
as the movement of the earth is rather imperceptible.
However, when the sun is close to the horizon during
dawn or dusk, suddenly time becomes a catalytic factor
that overrides our daily life.
When talking about darkness, it is always wise to set the
context rst. For instance, in the United Kingdom, urban
realm or commercial articial lighting comes on 30
minutes after sunset time. Respectively, all lights switch
off 30 minutes before sunrise. This period marginalises
the hours of darkness. However, the lighting conditions
occurring shift through a gradient scale both in terms of Fig. 2: Examples of civil twilight, nautical twilight and astronomical
colour, distribution and light intensity. twilight in order of succession.
Back to Basics 19
c. Shadow
Dictionary Denitions5
1. A black stain
2. Something unimportant; it is surprising to see that
one of the Greek explanation of the respective
Greek word “σκιά” is being translated as something
of low value and importance
3. A part of illuminated space where the is no light
4. A place to hide from visibility, to be protected from
the light
Literature Denitions - Metaphorical Sayings6
1. The concept of a shadow is a spatial concept;
shadows are dark areas. But space comes into it
subtly. It has a peculiar role because the concept of
shadow is partly gural and partly causal. (…) We
tend to use the term shadow only when we see the
border of light and shadow; that’s why the concept
is gural.6
2. To be in someone’s shadow
This refers to one being protected by someone
more powerful. There is a similar metaphorical
saying of one being overshadowed by someone
else. It that case, one is not let to be seen, be
exposed and reveal his true colours. In the literal
language, overshadowing studies among buildings
in densely developed urban cityscapes provide
analysts with information on the impact a shadow
of a high rise building will have on the surrounding
urban landscape.
3. Shadow as a follower
There is no shadow without an object, but there is
an object without a shadow. This relationship is only
one way dependent. Apart from its dependency
to the object, a shadow develops a fabric of
interrelations with the number, the intensity and the
direction of the light sources present in the room.
20 Denitions / Shadows
Fig. 3: A gradient of shadow shades in sketching.
Fig. 4: Sketching shadow, Markuskyrkan, Stockholm, 2013.
Shadows
A shadow could be resembled as a satellite of the object
that belongs to. Depending on the hour of the day, the
season, the latitude and the light source, a shadow
disappears, get multiplied, shortens or lengthens; a
bonded relation that rules the existence of the objects
and allows to human perception to put the visualised
objects in a context. Shadows enclose information not
only about the object, but about the source of light as
well. The greatest difference on the shadows created by
natural sources and articial light is the parallel shadow
lines that we get in the case of the natural light sources,
such as the sun or the moon. This effect comes as a
result of the distance between the light source and the
object itself.
Elementary facts about shadows
Shadows are two-dimensional interpretations of a
three-dimensional object. They have dimensional
qualities as they enclose information on materiality
and transparency of the object. Their location on the
two dimensional plane varies and can change from
being attached on the object body to being detached
and freely changing size and intensity. Their existence
can not be controlled by the object itself but is tightly
bound to the surrounding light conditions, in which the
object is located. A shadow has an autonomous will in
collaboration with the light conditions valid at the time.
It is a highly ephemeral projection of the object. And it
is exactly its transitory nature that makes shadows so
weird and in parallel exciting to investigate.
How a human can recognise the person or object just
rom its shadow? Is only the outline o an object/ person
enough to indicate the physicality of the object? As R.
Casati supports in his book Shadows, “If you know how
to read the shadow, you can reconstruct the history
of the encounter. The shadow speaks. It tells us what
objects are like, by sketching them with chiaroscuro.”7
Shadows of people contain a piece of the projected
person’s soul. Little details resemble the mirrored
person and lead to recognition just from the shadow.
The outline is adequate information that our brain needs
to overtake the process and imagine the person behind.
Shadows can not interact with or be used as physical
objects. A shadow will never leave a trace of physical
contact with an object. Shadows are a lonely layer that
immitates an object but has no physical power on it. It
is undoubtedly an unfair trade, as the object itself has
a degree of control over its own shadow. The greatest
supremacy belongs to the light source, as there is no
perceived shadow without a shadow line. A shadow
would never accompany the object if the object wouldn’t
be located in a lit environment.
Back to Basics 21
Shadows in the Physical World
Darkness falls over the earth during nighttime; still
people walk on the street after nightfall without the
feeling of walking under the shadow of an object. Night
is nothing more than the condition on which the earth
stands in-between the sun and us, leaving us walking
on its projected shadow. The reason the presence of a
massive shadow goes unnoticed is because of the lack
of an opposite or reference point to compare with. As
Roberto Casati conrms in his book Shadows “(…) there
is no shadow if there is no shadow line - if there is no
separation between shadow and light”8. This forms and
the strongest argument on the importance of shadows
in architecture and our physical world. Humans are
incapable of distinguishing, perceiving and appreciating
the world unless having a balanced input composed
of shadows, light, variations, colours, darkness etc. To
see, we need light but in fact we don’t see the light itself,
we see the emitting light source or the refection o light
on objects around us. The objects though would seem
unnatural and weightless if there where no shadows to
ll their areas hidden rom direct contact with the light
source.
Shadows can go complicated, the more objects are
involved in the scene. Shadows have been developed
to an art where artists place a number of objects at a
certain location which initially may seem completely
unreasonable to the naked eye. The eye perceives the
physical objects scattered in the space, ignoring any
sequential relationship among the objects themselves.
It is only when a single directional light source shines
rom a well calculated and predened angle towards
the clustered objects that our eyes nd a hidden visual
alignment on the casted shadow produced by the
physical interrelation of the objects themselves.
Shadow reveals Light
Shadows is a topic of interest that holds already centuries
ago, taking us back to BC years, when Anaxagoras, a
pre-Socratic Greek philosopher attempted to explain a
series of natural phenomena. His studies of celestial
bodies and our universe led him to the conclusion that
22
the phenomenon of eclipse is caused when the earth,
illuminated by the sun, casts its shadow on the moon,
when all aligned. Further to the aforementioned theory
of his, contradictory to all other philosopher’s theories of
his era, Anaxagoras extended his theory by applying it to
other celestial bodies of the universe. The stars can only
be visible as sparkling dots of various sizes on the night
sky due to the Earth’s location that covers the excessive
light coming from the sun9. Shadow hence reveals light.
Light of a more delicate character. Light that fades away
under the sun’s reign. The same applies in architecture.
In architectural lighting schemes, lighting designers
use a wealth of techniques and light intensities in order
to establish hierarchy and visual order. Each element
serves a certain purpose, adding interest, variety and
multi- functionality in the lighting scheme. Products of
high light outputs must be cautiously used, as they have
the power of vanishing other light qualities, negating the Fig. 5: Image of full moon showing its
goal of each item to the overall impression. shadowed cavities.
Fig. 6: Shadow art, Kumi Yamashita, City View,
2003, 250 x 500 x 5 cm
The amount of information one derives from shadows in
Fig. 7: Ancient sun clock
comparison to other mediums available today is limited.
However, going back in the past, one sees shadows 5
playing very important roles on the early endeavours of
Greek and Roman philosophers to explain the universe
and its interrelations. When distances and masses
extend far from what could be measured with the
invented at the time means and established principles,
shadows casted by the celestial bodies of our universe
were used to orm theories/ hypotheses and gradually
to reute or conrm their validity. They were also used
as a reference point in regards to time, as common
people weren’t expected to be equipped with watches
in their daily life.
Galileo was the rst scientist to clearly place his opinion
on the shape and the rufed surace o the moon,
based on the uneven shadow line, as viewed with the
available, at the time, telescope. Galileo noticed that
not only the shadow is wavy and interrupted, but also
in both shadowed and illuminated sides, there are
tiny areas that as reversed illuminated or shadowed 6 7
Back to Basics 23
 Dialogue between Plato and his Skia:
{ Skia: (…) there would be no alternation
o night and day, you wouldn’t be able
to see the shape o things, everything
respectively. “These spots, invisible to the naked eye,
would look fat and insubstantial…
appeared to him as a play of shadow and light, and (…)
they posed a problem of inverse optics for Galileo: to Skia: …light bounces o and starts
reconstruct the shape of an object based on the shape
of its shadow.10” Similarly, shadows assist the human moving in another direction. I’m the one
eye to deal with the massive amounts of information who preserves the traces of that meeting.
that receives from its surroundings. A shadow carries
information on the shape and materiality of an object,
Shadow is the memory o light. (…)
the depth of the viewpoint, the hierarchy of the viewed
scene. Shadows favour three-dimensionality, add visual
interest and help the brain to allocate and categorise the
perceived information. ―Roberto Casati, Shadows

People rarely pay attention to shadows intentionally.

One neglects their existence as the mind perceives
them as a trace bound to the objects composing the
{
scene. It is only when shadows are missing or prove
to be incompatible with one another that the brain
investigates the noticed contradiction. The brain has the
capability o reconstructing and lling in the imperect
parts of the perceived scene subconsciously, even
though ratios and proportions do not precisely appear
as expected. Shadows are being used as an indication
that our environment is valid and true. Their lack would
lead to confusion, depth misplacement, loss of visual
perspective, ignorance of potential inclinations etc.
Consequently, a shadowless scene would leave the
user unable to comprehend his surrounding and judge
correctly in order to further proceed to reasonable
actions.

The shadows go through a cognitive process, during

which the brain uses geometric skills to build up the
geometrical parameters of the space and compose an
meaningful image for the eye.

24 Back to Basics 25
 Visual Perception

The eyes represent the human detecting instrument

based on which our visual capability is built. People
involved in making decisions on how our built
environment is shaped should be rst o all introduced
on the ways the human body receives impulses from
the outside world. Unconsciously, the mind relates
these impulses to visual stimulation using the eyes. The
human visual system is complex enough in regards to
receiving and processing information. Therefore, the
basics of visual perception and adaptation are analysed
further in order to justify the apparent dominance of
vision over the other senses.

Time holds one of the most major roles in one’s life.

Within the course of a day, one experiences visual
variety to its fullest. The physical parameters of space
as well as the people vary, depending on the location
and time o the day. For instance, in case one could nd
himself in a space both during daytime and nighttime,
keeping all secondary parameters stable, the possibility
of noticing the same elements is rather low. The eyes
would adapt to the existing light levels accordingly,
providing the beholder with a sense of being able to
discriminate surroundings and make rational decisions.
Consequently, the prevailing lighting conditions each
time would result to impactful differences on the
composition o one’s visual eld.
A signicant part o one’s spatial perception is
determined from the visual stimuli received. It is merely
an objective issue that relies both on one’s sharp
visual capability and on the brain’s selective process of
information. As there is no certainty in the existence of
a mechanism that can predict what it will be seen by an
individual when placed in an certain environment, the
most sensible way to approach such an observation is
at rst to clariy the biological background o how light
stimulates the eye and how this intangible medium is
being processed from the components that consist the
human visual organ.
Fig. 8: Anatomy of the human eye.
The front part of the eye, visible on one’s face, is
consisted of a series of components that work together
to regulate the amount of light that is to enter our
eyes. The cornea is the rst layer o our eye. Due to
its transparent structure, it has the role of re-directing
the light to the retina, a highly light-sensitive membrane
that covers the inner cavity of the eye. Depending on
the amount of light available in our environment, the
pupil, which lies behind the cornea is equipped with
an adjustable mechanism that responds respectively
to the light perceived. To avoid excessive amounts of
light entering the eye, the pupil decreases its diameter
optimising vision and avoiding glare. The next layer to
nd behind the pupil is a crystalline lens. Its shape and
movement allow us to focus our vision in short or long
distances, depending on where the area of our interest
locates.
Once light has reached the retina, a complex procedure
begins. On the retinal surface, a large number of
neuron cells are allocated. These cells are responsible
for converting the incoming light to signals, which after
passing through several layers are transferred to the
visual cortex, a dedicated area of the brain, where the
signals are given a meaning. The retina is composed
by millions of photo-sensitive photoreceptors, divided
mainly in two categories, the rods and the cones.
The role o each o the photoreceptors will be briefy
described further. Once the light information has been
analysed and distributed, the input is then converted
to electrical signals and further forwarded to the brain
through the optic nerve. The brain translates the signals
and allows us to visualise the world we see around us.11

Background Image: Hyper-Realistic eyes

by Hector Gonzalez

26 Visual Perception Back to Basics 27

Cone & Rod spectral sensitivity
As aforementioned, the two light photoreceptors have
clear differences and hence strategic roles in visual
capability. The photoreceptors are capable of working
both individually and collaboratively, depending on the
existing light levels. Roughly, cones operate utterly
under well-lit condition, whereas rods are activated
automatically when light levels drop to adapt to low light
levels.
Cones are merely responsible for our coloured vision.
Their response is a result of a quantum of photo
pigment that reaches the retina. However, they need a
reasonable amount of light to be able to generate signals,
making them more ecient in daytime conditions. Rods
are the main contributor in our night vision. The ratio in
number between cones and rods is approximately 1:18,
with the rods outnumbering signicantly, being in total
somewhere around 120 million. Because rods operate
under lower light levels, they tend to be more sensitive
than cones. Another great difference between the
photoreceptors is related to their location on the retina.
Most of the cones are located compacted in the centre of
our visual eld, which is called “fovea centralis”12. Within
the fovea, one can notice almost absolute absence of
rods. The ovea, is where our vision is ocused and ne
detail can be identied.
The graph on the right illustrates the distribution of cones
and rods on the retina. As known, the human visual eld
is set around 160 degrees. The fovea is located right
in the middle of it covering only 2 degrees. It provides
humans with the ability to see high resolution images of
accent detail. The highest density of cones can be found
on a shift of 20 degrees from both sides of the fovea.
Rods, although very poor in colour discrimination, they
are highly pitched to motion detection. This fact explains
the reason we unconsciously detect movement faster
when occurred within our peripheral visual eld, even
during nighttime.
28 Visual Perception
Fig. 9: Graph indicating the distribution of cones and rods in the eye.
Fig. 10: Graph indicating the spectral sensitivity of the eye in photopic
and scotopic vision.
A series of broad research of acknowledgeable
scientists gives us the opportunity to visualise the types
of vision ranging from photopic to scotopic in relation
to the spectral power distribution of the emitted light.
The following curves as well as the overlay of them in
one graph can help us gain a better understanding on
the sensitivity of the visual organ based on the light
conditions occurring.
The peaks of each curve can be translated to the
probability of a photon of light that hit the retina to
be absorbed and isomerised by each photoreceptor.
The rod’s most sensitivity is expressed at 507nm of
electromagnetic radiation, which is alternatively known
as the scotopic peak. Considering the visible light
spectrum lies in frequencies between 390-780nm, the
scotopic peak is more sensitive to short wavelengths
towards blue hues. As rods are triggered under low light
levels, having the peak in such frequencies will make
the human eye perceive hues of that range easier,
giving the impression of a much brighter light compared
to longer wavelengths.
On the other hand, the cones are merely responsible
to our daytime vision and their sensitivity curve is
otherwise called, the V(λ) curve, on which the colour
rending index relies on. The peak on the cones, or
otherwise the photopic peak, can be found at the
560nm frequency. A quick look on the visible spectrum
will advise us that the peak is translated to greenish to
yellowish hues, explaining why this range of colours
have a relatively higher perceived brightness than
others. Cone subdivisions could be further explained
however the contribution of the information has little
relevance to the topic.
Back to Basics 29
 Nothing revives the past so completely as a
smell that was once associated with it.15
{
― Vladimir Nabokov, Mary
Sensual perception
One of the assumptions people make in life relates to
human senses. We use our body mostly unconsciously.
We don’t think to pick up a dropped pen rom the foor,
we enter a space focusing on how it looks, our visual
receptors conquer our brain, which sends massive
amounts of information about the space we are physically
located. However, our physical entity is composed from
more than one sense, which merely appear to have a
secondary role. However, spatial perception would not
be complete lacking sensorial input from all senses.
It is hard to predict in which percentage each sense
contributes to the nal image. We are aware o the ease
our eyes can be fooled. Intentionally or not, it has been
proven that we shouldn’t only trust our eyes. Light and
darkness are within the tools that one can use to create
an illusionary experience when intended.
It is hard to rationally justify the sensuous quality of
a space. Atmosphere is rather perceived from our
subconscious mechanisms of the human sensing
body, meaning that awareness of these mechanisms
operating is not necessarily captured and understood
by the conscious mind.
Light and darkness is only one piece of the puzzle
shaping spatial perception. Materials, the human factor,
shapes, forms, order of volumes are other factors that
infuence the perceived atmosphere. Even when one
or more are altered or absent, our sensual perception
o the space will be modied. A harmonious balance
of the aforementioned substantial elements of an
architectural space leads to a captivating and beautiful
result, similar to the one described by Peter Zumthor in
his chapter ‘The Magic of the Real’ in his book Thinking
Architecture13.
30 Sensual Perception
{
Moreover, the picture of the world one sees is affected
by the psychological state o the viewer, conrming the
common known saying that beauty is on the eye of the
beholder.
A spatial experience is and shall be multi-sensorial;
a composition of sensual stimuli received from all
senses enriches spatial experience, suppressing
sensual alienation14. The value of senses’ contribution
is not properly identied by people driven rom a visual-
oriented century.
Perceptual multi-dimensionality is only possible
when all senses contribute partially, if not equally to
the perceived experience. The importance of sound
can be easily realised when thinking of the times of
silent cinema movies. Lacking the sound, actors were
often forced to overact their roles in order to cover its
absence. Architecture have very distinctive sounds that
assist the brain to make relative correlations concerning
the physical dimensions and properties of the space.
The sound produced when walking in a space, conveys
information on depth, material and scale; sounds
that originally imply the space’s qualities and arouse
appreciation and understanding.
However, using upgraded material technology, design
teams choose to suppress these sounds to ease
people accumulation in one space, incorporating sound
absorbing materials or using alternative audio mediums
to overwrite the sound of architecture. It is basically
like fooling our ears with noises that interfere with the
tranquillity and monumentality of the space.
Sound
Architecture could be juxtaposed against music. Sound
is for music the derivative of written notes between music
lines. Sound for architecture is a dimension unique to
each building. Emotionally, music and architecture are
both equally complex, and even abstract sometimes,
despite the fact that for both we have physical evidence
of plan or a sequence of musical notes. Both arts
are aiming to communicate a message to the human
soul, emerge feelings using similar language means.
Architecture’s greatest virtue is based on harmony that
respectively causes balance. To achieve balance, the
human body is using the labyrinth, an organ located in
the deeper sides of our ear, hence balance is an integral
part of spatial perception.
Smell
Until 19th century, light was associated with the scent of
candles or oil and gas lamp. Interior spaces can often be
identied just by their smell. The visual image may look
unfamiliar to the eye, but the scent is a characteristic
that the brain rarely disregards even after a number of
years. The feeling of knowing a smell but not being able
to match the visual memory makes us wonder how our
brain is segmented according to the sense involved. It
worth noticing that the procedure of matching visual to
scent stimuli. A smell has the power to transport one in
time, taking him back in childhood years.
An intense personal experience of such an example
dates back almost two years ago, when a group of people
Fig. 11: Encountering a petroleum lamp in Abisko, Sweden, 2013.
decided to travel to the Arctic Circle and live a once in
a lifetime experience. “During a long after-midnight walk
in Abisko in order to increase our chances to see the
Aurora Borealis, a beautifully snowed path illuminated
by small old petroleum lamps stroke our way, adding a
romantic touch to the pure nature scenery. Far enough
from any light polluted neighbouring village, those
petroleum lamps were the only light source, besides the
soft and foggy moonlight covering the clear sky. I was
really touched by those lamps because they reminded
me my childhood. As a child, I was spending almost all
my summer vacation from school to our summer house
in the middle of the Aegean sea. This small island
called Skyros is a place, where nature and calmness
dominate. In other words, for a long period of time, our
house had no electricity. Hence, during nighttime, we
were lighting up exactly the same petroleum lamps as
the ones I found in Abisko. This smell as well as all the
procedure o lling again the lamps with petroleum the
next day crashed my mind when I saw them in Abisko.”16
We also develop compassion and affection to some
smells. Homes have different smells, projecting the
people or the activities taken places within them. A
person appears bonded to some scents; its own home,
the smell o his/ her partner, the ragrance o his mother
that is not alive anymore. A smell is enough to bring
back memories and build images of reality that are
unseen to eyes but still refect our soul.
Back to Basics 31

Touch
Touch is a sense deeply imprinted in human life and
development. It is also the sense which we nd harder
to imagine ourselves lacking. Tactile contact with our
surroundings provides a wide range of knowledge and
inormation to each individual. A human in the rst years
of his life relies mostly on tactile information derived by
the environment to ensure survival. Touch and hearing
hold a leading role. Children visual sense is the last
to come in full development since birth. Even so, for
children seeing the world has to go through complex
process of brightness, contrast and pattern recognition
beore the image infuences physical movement and
interaction with the environment.
Touch can be perceived as a basic, almost spontaneous,
reaction to the world. Human feel the difference of
being in an interior space to an exterior the temperature
information conveyed through the skin. However, tactile
stimuli are also highly intuitive. Establishing tactile
interconnection with other people, animals or objects
contributes on the emotional investment that further
reinforces human bonds. Touch is capable of setting a
strong link between people or space.
In everyday language, people use linguistic expressions
with embedded tactile characteristics to describe other
people or situations. David J. Linden in his book ‘Touch’
collocates a number of experiments in where tactile
expressions in speech infuence one’s emotional
associations17.
32 Sensual Perception / Materiality
Materiality
Handling correctly architectural materials requires a
level of appreciation, respect on material’s properties
and knowledge of processing methods. The relation of
materials to one another comes above all. As designers,
it is important to use materials that coexist in harmony,
radiating their own identity while adding quality to the
nal result.
Presence and weight are two critical factors when
thinking on materials. The distance between the
selected materials should be tested to conrm that they
behave as expected, enriching a space with through
their dialogue instead of counteracting one another.
The interdependence of light, darkness and materials is
to be noted as a signicant interplay o roles and ratios.
The materials of an architectural space determine the
energy load, intensity, lighting methods and the patterns
of light and darkness applied in the designed space,
leading to a unique composition on each case. The
visual appearance of the material is correlated to the
successful coexistence of light and darkness falling on
a surface.
Junichiro Tanizaki dedicates a great part of his book
‘In praise of shadows’ to describe the intellectual and
fragile qualities of some of the commonly used materials
in Orient architecture. He unfolds the properties of
materials, such as shoji, jade, ceramics and lacquerware
and he shows full respect to their meaning for the
12 13
15 16
Fig. 12-17: Refective ceiling in Hunter S Pub, London / Light shining through stained glass, St.Margarets / Stubble canopy in Scorpios, Mykonos /
Vertical Garden wall, Warwick, UK / Exposed concrete wall, Loja Volume B/ Kinetic Facade in Debenhams, London
Japanese culture and architecture. Throughout his
descriptions, light plays a crucial role on the appearance
and the show of appreciation to each material. Dim,
subtle, delicate light blended with moments of darkness
are to be blamed for the elegancy and authenticity of
the rendered material in Tanizaki’s stories. Among his
stories of daily experiences, Tanizaki mentions a dining
evening in a restaurant in Kyoto, where the dining
tables were only illuminated using candlelights. “And I
realised then that only in dim half-light is the true beauty
of Japanese lacquerware revealed. (…) Darkness is an
indispensable element of the beauty of lacquerware”18.
Tanizaki describes beautifully the uniqueness of
lacquerware as a material to be used for serving food.
The feeling of warmth conveyed by the material and
its hot content, as well as the intensity of smell and
odours vaporising from the soup, give a dominant role
14
17
to senses other than vision. The visual sense, mainly
established as the primary in the Western world, enjoys
vast moments of monopoly and monarchy in the fast
developed western societies. Hence, Tanizaki dares a
comparison with unrivalled immediacy between Western
and Orient world. He characteristically says, “What a
world of difference there is between this moment and
the moment when soup is served Western style, in a
pale, shallow bowl. A moment of mystery, it might almost
be called, a moment of trance.” 19
It is almost as darkness turns to be an essential factor
for the material to be revealed to its fullest. As seen
on the images above, the outcome depends upon the
properties o the material itsel, such as refectance,
transmittance, texture, absorption etc.
Back to Basics 33
 Shaping memories
Architecture’s purpose is to be addressed to general
public. The experience of an architectural space
ye varies among individuals. Spatial perception comes
as a composition of factors related to each person’s
s
individual memories, former personal experiences or
simply variations in visual and sensual sensitivities.
Although human visual system is structurally identical
for all, each individual appears to have different
te
perceptual capabilities, known otherwise as spatial
intelligence, according to the American psychologist
r
Howard Gardner20. A kind of intelligence related to
sensorial perception in architecture is the emotional
intelligence, for which the psychologist Daniel Goleman
d
has dedicated years of research analysed in his book
‘Emotional Intelligence’ to describe how senses and
emotions sometimes succeed to overwrite mind’s
sharpness. Stimuli receptors and mechanisms are
responsible for allocating the visual and sensual input
ay
to the right direction, endorsing our brain to create
memories and store information.
The left hemisphere of our brain is oriented towards the
processing of detailed observations and information,
whereas the right hemisphere is dominantly engaged
in peripheral experiences and the perception of entities.
The power of the right hemisphere lies on its constant
search for pattern recognition in our surroundings.
Hence, spaces with intensive presence of both light and
shadow in the shape engages our right hemisphere of
the brain, divulging the emotional side of our brain to be
in force.
When the context of the image we see is not explicit
then the right hemisphere takes in charge proceeding
to contextual analysis of the environment. The left
hemisphere is normally dealing with situations where
Cover Image: Childhood memories
Image sourced by Shutterstock
36 Yesterday
direct interpretation leads to reasonable results.
However, where darkness, contrast and sharp shadows
apply, the right hemisphere is called forth to embellish
subject’s point of view with emotions and sensorial
instincts. As wisely lain McGilchrist supports, “It is the
right hemisphere which gives emotional value to what
is seen …”.21
We are surrounded by information; information that is
spread in the environments we circulate, socialise, work,
and live. Sometimes, the environmental response is bold
and other times bland and uninteresting. Information not
worth registering to our brain is not noticed by the eyes.
Technically one is awake with bright open eyes but the
brain is going under a selective process of the world that
lies in front. When information happens to caught ones
attention, the brain has already chosen to invest on the
received stimuli and store the information temporarily or
permanently, depending on the impact of the stimuli, in
the human database called, memory. A human being is
dened by the memories he stores throughout his lie.
It is no wonder how lost people who lose their memory
feel. Memories often involve one or more of the human
senses. The most intense memories people carry from
their childhood are multi-sensorial.
Experiencing the world around us is hence tightly
connecting with the senses evoked by it. Peter Zumthor
in his book Thinking Architecture describes how
architectural details of his aunt’s house created strong
sensual memories during his childhood that followed
him throughout the course of his career. “I remember
the sound of the grave under my feet, the soft gleam
of the waxed oak staircase; I can hear the heavy front
door closing behind me as I walk along the dark corridor
and enter the kitchen, the only really brightly lit room in
the house.”22
Background 37

There is a tendency to believe that a memorable
space needs to be of special character or profound
design. Surprisingly, memories are not always linked
with the boldness of an experience. All it takes is a
sparkle in ordinary things or spaces one visits, to draw
his attention. Senses are highly responsive in moods
and atmospheres. Visual and sensorial attention can
be caught rom small ne details in the architectural
environments or even a foating aura embracing one’s
presence. Finding a balance between arts and science
lies in one’s ability to perceive, understand and treat the
world with emotion and reason.
Designing architectural spaces and places should aim
to convey a meaningful message, a story that reaches
the deepest paths of humanity and goes beyond cultural
variances and individual preferences. Creating a memory
should be the ultimate goal of every designer. Designing
places that people accept and understand emotionally
is a great challenge to overtake as designers. A memory
in people’s minds should be the nest reward to receive.
Zumthor further mentions that “Sense emerges when
succeed in bringing out the specic meanings o certain
materials in my buildings, meanings that can only be
perceived in just this way in this one building.”23
38 Yesterday
From the designer’s point of view, during the concept
stage images are retracted and complied to form a
consistent concept for a particular application. Stored
memories of passive or active experience act as a
database from where designers make a selection
depending on the requirements of a project. Zumthor
refers to his memories as “images of places that I know
and that once impressed me, images of ordinary or
special places that I carry with me as inner visions of
specic moods and qualities”.24
Through the design decisions made, designers let
people explore or interpret their insight, get into a
designer’s mind-set and follow the footprints he scrolled
throughout the design process.
Experiencing architecture is tightly linked to emerging
senses while walking through a space. We feel we can
engage with a space when we can derive feelings and
memories we stored in our brains of it.
Light & Darkness: A Nature’s synergy
No human being has ever felt purest feelings and
calmness, almost like a relief in his soul, than when
gazing into a uniquely beautiful snapshot of nature’s
beauty. Nature is the core of human reference. People
feeling strongly bonded to nature, imitate structures
or translate principles to aid them develop built
environments. Nature exercise infuence to humans and
evokes mental excitement.
However, perfection is absent in nature; from the
human body to nature’s shapes and structures they
carry signicant imperections. Why perection has
become an obsession architectural built environment?
When entering a new building, surfaces are smooth
and careully nished, materials shine, everything is
layered as designed on paper. There is no sign of decay
or fatigue. Yet it is a wonder; why humans decided to
disregard the greatness of nature and create the elusive
impression that modern societies must be in perfect
order. Did you ever wonder why buildings with apparent
traces of time on them emerge emotional engagement
and a sense of nearness, sympathy and compassion.
People feel they can relate to architecture that is
characterised by living materials and structures.
In nature, light is a powerful element that keeps the
human species alive. Light allows people to see,
operate visual tasks, provides a feeling of security
and has scientically proved healing properties. Light
could potentially be paralleled to being conscious. On
the other hand, darkness is an essential component
to activate and trigger imagination. Where darkness
applies, curiosity emerges. The brain seeks for
information to form an image of the surroundings. It is
on that moment when darkness kicks off imagination
and sub consciousness; the process of dreaming while
being awake.
Nature’s darkness is intangible, dicult to control and
hence to give a clear denition. Darkness encloses
intimacy and an apparel charm. In darkness, the
deposed sense of vision, reinforces the rest of the
human senses. The sounds are heard louder, scents
rise more intense and touches become more sensual.
Senses swell in darkness
As a stereotype, darkness and light are mostly related
as opposites. Most people think that where light stops,
darkness begins and vice versa. Allow me to question
the above mentioned view on light and darkness on this
essay and make an endeavour to reclaim the relation
Background 39
nature dened in the beginning o history. Nature and the
fundamentals of the world are often the right direction to
look at, when seeking for guidance on managing the
architectural build environment of tomorrow.
Light & Darkness; an eternal interplay that denes
human perception and life and allows to subjectivity to
decide the threshold to sustain balance between those
substantial elements of life. A Gestalt’s psychology
adage says that “the outcome is greater than the sum of
its parts”25 nds application here. The blend o light and
darkness is a nature’s synergy, where their coexistence
is actually adding value to the outcome. That explains
the reason twilight - dawn and dusk - enclose a seductive
quality full of emotionality that makes people stop and
stare the beauty of time transition.
Developing a dialogue between light and darkness
throughout the design process allows to these
interdependent values to refect upon one another,
sharing their values and working together to establish
a communication language between architecture and
user. The magic of light is hidden in darkness and the
intimacy of darkness encloses an inner light.
Since the human species recognised daylight’s
40 Yesterday
importance, designers mimic its behaviour or attributes
to light interiors. However, it seems that most of the
times, designers tend to give a static representation
of daylight conditions by selectively framing daylight’s
character. Even lighting manufacturers use the term
‘daylight white’ to describe the correlated colour
temperature of a light source with up to 6500 Kelvin,
discarding the fact that daylight is the most diverse light
source that exists.
When it comes to contrast, daylight varies surprisingly.
A clear sunny day would give a total different impression
to an outdoor place from the one produced under an
overcast sky. Studying contrast ratios on outdoor spaces
throughout the year is enough evidence to prove that
humans constantly deal with extreme high or low ratios
in outdoor environments. It is a sequential phenomenon
caused by the seasons, providing interesting visual
environments for the senses. Nature does offer multi-
sensorial environments to humans. The season turn
over equally stimulates all senses, succeeding to give
a holistic experience. The smell o the fowers in spring
and the sound of the rain in winter is only a small sample
of the sensorial triggers nature provides. It would be
wise to our natural inclinations and trust their value to
human emotional richness.
Background Image: Neanderthal Museum,
Piloña, Spanien, Barozzi Veiga
Background 41
 Fig. 18: The Scar, Matthew Penn
Fig. 19: Hammershoi and Dreyer
exhibition, Barcelona, 2007
Fig. 20: Rembrandt Lighting
Photography by Karen Schmautz
Fig. 21: Caper (Salmon-White),
2000, composed of LED and
fuorescent light, James Turrell
Fig. 22: The Woman taken in
adultery, Oil on oak, Rembrandt van
Rijn, 1644
18 19
20 21 22
42 Yesterday
Darkness in Arts & Science
Looking on the manners darkness is deployed by
artists of contemporary or past eras, is a way to identify
historical art’s movements or certain techniques related
to darkness.
Darkness establishes a bold presence with the
technique of chiaroscuro. The technique dates back
to periods of Ancient Greek and Roman artists but it
was widely introduced by Leonardo Da Vinci during the
15th century. Later, the technique was developed and
mastered by painters of late Renaissance and Baroque
period, such as Caravaggio and Rembrandt.26 Artists
realised that by using sharp contrasts between light and
shadow in portraits or scenes could create atmospheric
drama and draw the viewer’s attention on the action
point of the scene. Protagonists appear washed in
a holy light, the source of which the viewer never
sees present on the painting. In the same time, albeit
often over-crowded, paintings’ background bathes in
vagueness and obscurity, leaving a blurring impression
to the viewer. Chiaroscuro is also employed to emerge
rhythmic pattern effects or suggest movement upgrading
the static depicted scene to a dynamic meaningful
experience.
Rembrandt is a perfect example of an artist who created
his famous paintings considering darkness and shadow
as an integral part of its composition. He used shadows
and strong contrast to create emotional and mysterious
atmospheres. Proportion and spatial distribution of
darkness as well as contrast ratios determine the
psychological depth of the scene as well as the
impression the viewer gets.
The uniqueness o his paintings lies on their unnished
touch. People get passionately engaged by his paintings
because of the fact that leaves to our imagination to
shape what is left in a veiled blurriness. Rembrandt
invites the viewer build the surrounding stories running
around the main theme of each painting. Due to his
magnicent ability o using darkness and contrast
along with his characteristic stokes of lines, Rembrandt
achieves to make the viewer part of the scene.
Nowadays, chiaroscuro is still used in paintings. British
hyper-realistic painter Matthew Penn, admits his strong
infuence by aorementioned painters. Highly ocused
on rened details, his works reveal the human body
and face with a mastering sharpness. Matthew uses
darkness to expose hyper-realistic textures in the
foreground. Darkness becomes a strong background
in the absence of which the emotional effect fails to
be communicated. Shadow and its marked effect on
faces and skin carries an irreplaceable value beautifully
expressed in Penn’s artworks. Matthew recently
collaborated with Erco Lighting to develop a tailored
lighting system that renders his paintings impeccably.
He strongly believes that “lighting, although not attached
to it, is a part of the art”.27
Chiaroscuro expands its presence to other types of
art, such as theatre or photography. Stage and theatre
lighting designers are pioneers in using sharp contrasts
and focused light to highlight the role playing a part or a
performer being on stage. In photography, darkness is
utilised to enhance depth o eld and emerge mystery,
drama or other immersive moods.
Background 43
 Light and darkness, brightness and obscurity, or i
{ a more general expression is preerred, light and its
absence, are necessary to the production o colour…
Colour itsel is a degree o darkness.28
― Johann Wolgang von Goethe, Theory o Colours
{
Fig. 23: Philipp’s Otto Runge Color Sphere, 1810.
44 Yesterday
Fig. 24: Goethe’s symmetric colour wheel with associated symbolic
qualities, 1809.
In science, when Goethe published his Theory of
Colours in 1810, he based his sayings on the nature of
colours and the process through which are perceived
by humans. Although his theory was confronted by a
number of physicists of his time, Goethe supported his
theory on arguments related on the importance of the
psychological aspect of colours. As he said, “Newton’s
error was trusting math over the sensations of his eye.”29,
suggesting thus that metric results do not realistically
refect on how the visual perception system works.
Goethe’s thoughts on darkness follow as well the same
approach, as he viewed darkness not as the absence
of light but rather as an element that interacts with light
producing interesting phenomena.
Surprisingly, Goethe links his theory of colours to the
existence o darkness in the visual eld, expressing his
viewpoint as colours being the result of the dynamic
interplay of darkness and light30. This outcome is proved
true depending on the ratios of darkness and light within
a room. When darkness predominates the space, colour
vanishes rom our visual eld.
The explanation is rather simple. The rods, the
photoreceptors that allow vision under dim light, are
activated when the overall luminance levels of the room
drops under 10-3 cd/sqm30. Under these light levels,
no discrimination of colour is possible, setting hence a
framework in which Goethe’s Theory of Colours applies.
Background 45
 Architecture in Contemporary Societies
Nowadays, material technology exceeds architect’s
expectations the last century, resulting to the
implementation of building shapes that architect’s
had only imagined and expressed on sketching paper
to before. Glass and metal rapidly replaced the so called
traditional materials of brick and stone, used to shape
a building’s shell. The fexibility o the newly introduced
d
materials deliberated architecture and construction,
setting the foundations for a new era of contemporary
a
edgy architectural endeavours. Currently, an
observational walk in all big cities of the world is enough
y
to convince us that glass is the new brick, as it is found
to cover most exterior surfaces of new building shells.
Following the excitement o architects, who nally had
the opportunity to create a transparent urban fabric
that communicates and interacts constantly, the new
path unconsciously led people to change the way they
perceive the world around them. Although the initial goal
of these revolutionary changes was to open a direct
dialogue among people and space, interior and exterior,
nature and architecture, incorporating them all under
the same harmonic arrangement, some underestimated
consequences raised, altering the outcome of such an
ambitious experimentation.
“Architecture of the exterior seems to have interested
architects of the avant-garde at the expense of
architecture of the interior. As if a house were to be
conceived for the pleasure of the eye rather than for
the well being of its inhabitants.”, Eileen Gray, From
Eclecticism to Doubt, dialogue between Eileen Gray
and Jan Badovici, L’Architecture Vivante, 1923-33,
Autumn & Hiver, 1929.31
As glass found application in most architectural facades
of buildings and skyscrapers, it affected the appearance
of the city and the quality of dwellers’ life. Taking in
account the principal characteristic of glass, suddenly
Cover Image: Athens Olympic Complex,
Agora by Santiago Calatrava, 2003
46 Today
people felt - and became - exposed, as visibility equals
a massive increase of visual information that travel from
the internal to the external environment and vice versa.
By denition home is a sealed protected place to praise
privacy for the individual. Transparency has converted
homes to a source of information for strangers passing
by or neighbours inhabiting the opposite building. The
feeling of being in a place that encourages contemplation
and intimacy fades, pushing subconsciously the dweller
to stay tuned with the reality and act within the norms
that society sets, even in his very own home. Humans
have lost their sense of individuality and uniqueness.
The world indeed became transparent, not only through
architecture but also through the pervading attitude of
the media technology in people’s lives. Anything, we do,
no matter if it is indoors or outdoors can be seen and
followed by individuals or governmental services that
using as an excuse society’s order to deliberately enter
visually or acoustically even some of our most intimate
moments of daily life. Vision and hearing have been
denatured to tools of order rather than sensorial stimuli.
Comparing life norms of the past century to today, we
instantly recognise the fact that everything has become
faster. Communication, transportation systems and
the consumption market itself; personal relations and
working rhythms have been hugely affected, leaving no
space to take a step back and enjoy the moment, feel self,
sense all imperceptible things that surrounds individuals
and ll in the overall impression. They would have gone
unnoticed if only there was no time to stop and stare,
feel, observe, introspect. Along with the speed, noise
is also more evident in today’s life. Although devices
turned silent, the amount of information and attributes
surrounding us resulted an immense sound pollution
that vanishes all the delicate qualities of sounds of
nature, architecture and humanity.
Background 47
 (…)modernist design at large has housed the
{ intellect and the eye, but it has let the body and the
other senses, as well as our memories, imagination
and dreams, homeless.32
― Juhani Pallasmaa, The Eyes o the Skin
Lately, our societies are governed by overconsumption of
sources and goods, producing virtual needs beyond the
basics. There is an increasing tendency of unnecessary
goods and that refects also in the architectural design
process and the designed environment. Similarly, in
lighting design, spaces are lit with increasingly more
light in an effort to extend the hours of the day.
Articial light has gradually extended the hours o
‘human operation’. Electrical light defeats darkness
to provide comfort against human incapability to see
adequately at night. When living in rapidly developing
articial environments, i not supercial, the essence o
life turns to be a quest going back to basics of nature.
“There are of course roofs on Western houses too, but
they are less to keep off the sun than to keep off the
wind and the dew; even from without it is apparent that
they are built to create as few shadows as possible and
to expose the interior to as much light as possible.”33
According to Tanizaki, contemporary western
architecture aims towards the impoverishment of
shadows, as structures and materials seem only to
validate sun’s indisputable value, leaving shadows
sidelined in arcane corners. The greatest and most
admirable achievements of Western architecture
the latest years concern raising high skyscrapers,
48 Today
{
alleviating the resistance and tolerance of modern
construction materials, such as steel and glass. Every
year bidding becomes taller and taller, establishing a
competition among architectural spaces that ght in the
sake of vanity to defeat each other, as if a taller building
expresses prestige, supremacy and value.
Architecture is not a game of thrones though. Values’
reconsideration is necessary to prevent gradual
distortion the notions of mankind. Architecture should
be a collective expression of appreciation and an effort
to oer better/ more pleasant environments to people.
Reaching the sky remains a great challenge mankind is
after. For Western civilisations, the sky is linked to a holy,
upper space, that encloses power, meeting precisely the
avidity that characterises today’s societies. Architects
believe that the more light penetrates the interiors, the
more attractive the space will be. As in other aspects of
life today, we need to stop caring only on the quantitative
side of things, and evaluate where quality stands. Light
qualities concern properties as intensity, brightness,
directionality, clarity, dominance, material interplay,
light/ shadow patterns, emotional impact.
Through the descriptions of Japanese architecture
in his book “In praise of shadows”, Junichiro Tanizaki
species the depth o consideration light and shadow
enjoy in Japan. Quality stands well above quantity.
The importance of light and shadows is profound, as
he states: “And so it has come to be that the beauty of
a Japanese room depends on a variation of shadows,
heavy shadows against light shadows - it has nothing
else.”34 Architecture is being treated as the backdrop on
which architects/ designers use layers o shadows and
light to create an impactul environment that denes the
essence of Japanese architecture.
Darkness, shadow and contrast act as a hiding veil
for emptiness that add dimensionality, depth and
atmosphere. Emptiness often causes discomfort to
people. An interplay o light and shadow can well ll the
space with intangible element that asks for attention
and worths more than any kind of visual noise or
ornamentation placed just for the sake of emptiness.
Such is Oriental’s way of thinking; “we nd beauty not
in the thing itself but in the patterns of shadows, the
light and the darkness, that one thing against another
creates.”35 Orientals take darkness as a natural state;
they design and built their interiors to refect an equally
respectful attitude towards light and darkness.
Fig. 25: Typical interior of Japanese house.
Background 49
A Change of Attitude: Occularcentric World
The architecture of the eye requires the viewer to stand
in a distance, allowing him to observe the space in its
entirety and comprehend the given qualities at a glance.
Distance provides the opportunity of shaping an opinion
in speed. Quick response plays an important role in
our rapidly developed societies. Somehow, the eye, as
the sense of distant control36 - as named from Juhani
Pallasmaa in his essay ‘Hapticity and Time’ - creates an
isolated visual experience that brings the viewer away
from the architectural space, building up boundaries.
Tactile architecture intends to enfolds us in its embrace,
inviting people to feel space as a complete embodied
experience. The human factor plays a crucial role
to the building’s existence. The ultimate scope of the
built environment is to generate experiences and store
memories in people’s brains and souls. Compromising
with the idea of a visual-centred world, we indirectly
admit to discard a chance to tune ourselves with space
and feel its insight. Western countries have adopted this
philosophy and as expected architecture follows.
On the other hand, touch encloses intimacy and true
engagement. Human skin is able to sense extremely
slight differences, same as the eye with light. Touching
a surface and gain understanding through this process
includes a much slower and atmospheric process
that demands reasonable proximity to the elements
experienced. People living in high speed daily pace
have gone away from this way of experiencing the world
around them. It is no wonder that populations spending
their life closer to nature appear to have alerted senses,
50 Today
whereas citizens of city centres have neglected other
senses, recognising vision as the primary sense of
all; the one that does not require effort, time and
concentration. Have we lost part of reality in the process
o becoming more ecient and multi-tasking?
This all is not to disregard the signicance o ocused
and peripheral vision in human life, which is undoubtedly
not to be neglected, but more as a chance to unfold the
added qualities that the rest of the senses contribute to
enhance spatial experience. It is clear that the senses
among them shall not be imposed as confronted
universes. Although each sense specialises in different
regions in the perceptual process, all senses incorporate
to some extend some others within. As Merleau Ponty
Maurice suggests in his book ‘The Visible and the
invisible’, “The visible is not a tangible zero, the tangible
is not a zero of visibility”. 37
Vision is strongly bonded to a momentary experience
of architecture. An instant moment that is composed by
a selection of frames of a reality that is perceived by
both our focused and peripheral vision. When sensing
architecture, we get captivated by the variation of stimuli
the world radiates. Time slows down, as embracing the
sensory invitation we receive from the surrounding
environment. The experience seems to last, leaving
explicit traces in our soul. The hectic daily rhythms
have bereaved the luxury of extending an architectural
experience, pushing the limits towards an absolute
hegemony of the visual sense.
There is no doubt; vision is human’s primary sense.
However, the amount of light needed to serve visual
requirements levels ar below the degree o articial
illumination used today to compensate the lack of
natural light during nighttime.
This thesis is addressed to be focused on interior
architectural spaces that have been envisioned to offer
joy, pleasure and a unique experience to their visitors.
The development of contemporary life and culture
from the past until today has shown a clear tendency
towards a global whole that has certainly infuenced the
architectural trends of each historical period.
Back in the past, traditional windows were typically
represented as an opening on the wall, serving
ventilation and access of daylight and sunlight in the
interiors. Their size was dependent on the orientation
on the wall they were located and the dated building
restrictions of the past. Symbolically, a window let
people retrieve information on weather conditions,
established the communication of interior and exterior,
keeping yet most of the inside stories concealed in
the boundaries of an interior space. Based on these
circumstances, a wall expressed solidity and had a
explicit meaning of a boundary between a private and a
public area. It served as a protection of private life and
blocked communication and openness of the interiority
to the public world. Hence, vision was less indulged
than is today. Archaic senses as touch and smell had
an important role, promoting intimacy and solidarity.
When surveillance was introduced into the contemporary
societies of today’s world, vision started gaining grounds
and gradually becoming more and more demanding. As
Juhani Pallasmaa writes on his book The Eyes of the
Skin “A society of surveillance is necessarily a society
of the voyeuristic and sadistic eye.”38
Vision was favoured as reality increased speed over
the years of technological development. Time became
precious and expensive. All aspects of life seem to shrink
in time demands or duration to include more activities
into our visual-centred routines. Image conquers our
visual eld in all active environments; rom the domestic
scale to architecture and urban scale, the importance
of an image soared. The slogan ‘An image equals to a
thousand words’ found application, as our visual system
is capable of picking up information collectively.
The brain signals are felt to be formed instantly, despite
the fact that complicated processes are required to be
able to make sense of our environment. People made
a choice that affected their future and the way the world
would be perceived and felt from then on.
Vision focuses on direct confrontations with the world
located opposite to the viewer. Alongside to vision,
hearing can be ecient as well, crowned to be the
essential selling point when socialising. We need to
be aware that seeing, hearing and speaking can be
interpreted differently, especially when delivered under
well structured circumstances. Smell, taste and touch
Background 51
 enclose intimacy, familiarity and proximity between the
subject and the environment, whether this is another
person, a building, a piece of furniture or nature. People
seem to be fearful of embedding sensorial stimuli of the
above senses in all aspects of life, as the norms of our
contemporary occularcentric societies have set certain
allowances. Lacking variety in sensorial stimuli, not only
shapes an incomplete impression of the space but also
results to an inner imbalance in our sensory system. As
Juhani Pallasmaa quotes, “The growing experiences of
alienation, detachment and solitude in the technological
world today, may be related with a certain pathology of
the sense.” 39

Although not obvious in the rst place, it should be

expected that the human visual system pervaded by
constant overexposure in electric light would deal with
severe consequences. The changes to how people see
and perceive the world might be imperceptible the rst
years, but it expands massively throughout history as
electricity becomes inexpensive, technology deluges
our daily life and eventually lead us to a hegemonic
visually isolated reality. The more light we get in contact
with, the greater our dependence is on it. Increase of
luminous stimulus has led humans to lose a percentage
of sensitivity in light variations, causing visual immunity.

The original scope of using light was and continues to

be to provide comfort, convey information and make
surroundings visible, covering the impairment of the
human vision against the dark. Inevitably, articial light
has a direct relation with the sense of vision, favouring
the fourishment o an occularcentric society.

The fact that electric light has become widely available

and its cost decreases over the years encourages the
denite consolidation o a shadowless attitude.

We shall consider though that the image of the world

alters as more light is added, increasing steadily the
light level standards for various spaces. It is important
to realise that adding more light will never result in
an impression of a maintained sunlight; natural and
articial light are, behave and get refected in the space
in a different way.

Background Image: Times Square, New

York City - Photo sourced rom Flickr

52 Background 53
Lighting Standards and their Impact on the Design
Process
Since the introduction of lighting design as a profession,
United Kingdom has been one of the hubs in the
industry. Therefore, a number of for lighting professional
bodies have been introduced. Over the years, lighting
associations and institutes have been established aiming
to support, educate and provide lighting professionals
with information relevant to the industry. Their actions
concern to raise awareness of the importance of lighting
in the built environment, leading the lighting design
profession to global recognition. Amongst others, such
professional bodies are responsible for the formation of
lighting design guidelines and their update, based on
on-going studies carried out by researchers. Initially,
lighting regulations and guidelines were formed by
groups of expertised engineers who compose one
o today’s most infuential engineering association
called CIBSE (Chartered Institution of Building Service
Engineers). CIBSE’s lighting guidelines and regulations
(BS Standards) provide a solid base for professionals
and design parties to communicate. Under CIBSE’s
amily, one nds a number o other authoritative
societies such as SLL (Society of Light and Lighting),
which delivers lighting guidelines too, sorted in volumes
by application. 40
However, the degree up to which the regulations
take part in the creative process infuences to some
extent the outcome. Experienced designers who have
worked in multidisciplinary elds with various lighting
requirements acquire thorough understanding of light,
its behaviour and interconnection with architecture;
tools that allow them to judge the degree o infuence
regulations have on the design intent.
54 Today
The nature of the project is very important when
setting the foundations of a project’s design process.
For instance, being appointed for a hospitality project
that belongs to a hotel chain (e.g. Marriott, Hilton,
Sheraton) comes with the restriction of complying not
only with international lighting guidelines but also with
brand design standards, specically composed based
on the location and the target customers of the hotel.
As a result, designers receive even more constraints to
deal with, juxtaposing the reasons a lighting designer
is brought on board, which could potentially limit or
challenge a designer’s creativity.
In today’s digital world, data and information change
on an eye’s blink. With LED technology evolving day
by day, there is a high risk that listed data on printed
material are inaccurate or not refecting the latest
ndings o the lighting research world. Bureaucracy and
legislation processes slow down publishing or updating
guidelines with the newest results that could infuence a
designer’s choice or decisions. As the results of studies
succeed constantly one another, it almost becomes
unreasonable to expect that guidelines will refect the
present reality. Therefore, the biggest disadvantage of
the lighting guidelines used is their inability to keep up
with the pace of technological evolvement. That results
to information that even if published two years ago,
they might well be irrelevant due to the radical changes
lighting technology faces within months. Admittedly, this
is a fact to be taken into account when relying fully on
the reliability of the lighting standards to support design
decisions.
Another reason that redening the importance o
compliment with lighting standards is due to numerical
generalisations. By denition, standards so ar have
deliberately a strong quantitative character that
carries their credibility. When seeking lighting advice
on standards, the information merely provided is
summarised on average lighting levels, uniformity
ratings, glare ratings and colour rendering gures.
Despite the above gures can rame a general sae
margin around a project scheme, human and spatial
perception function differently. The human brain collects
information from our environment as a process of
building up spatial awareness.
Although standards have reached the point of segmenting
each application to separate divisions based upon the
task performed, communicating qualitative parameters
is still an on-going request. Lighting quality, character,
lighting methods, contrast ratios, colour, hierarchy,
sensual richness and time etc. are some of the criteria
that contribute signicantly in the perceived image o
a space. Existing lighting guidelines are governed by
pragmatism and rigidity; essential characteristics that
conrm their reliability but in the same time keep them
from incorporating the aforementioned parameters into
their advisory contents.
Despite the above arguments, lighting guidelines do
serve a purposeful scope. They provide a good starting
point; gures to be considered and criteria to be tested
in order to assure that the delivered scheme will satisfy
involved parties along with nal users, while providing a
healthy balanced environment for people to experience.
Visual fatigue and its causes need to be eliminated,
maintaining the interest of the scene. Therefore, the
nature of the task performed or the use of the designed
space gives a guiding direction on the hierarchy of the
design elements to be utilised.
An attempt on embracing qualitative methods when
evaluating an environment based on the standards is
refected by the acknowledgement o the importance o
the aesthetic harmonisation o the light ttings specied
forasmuch as the architecture of the designed space.
Especially in cases of refurbishments, the type of the
building sets physical restrictions and sets the margin
on the selection o light ttings in terms o mounting or
nish colour.
Darkness is a term to be rarely found in lighting design
regulations. Darkness is only expressed indirectly
through the recommended uniformity values, which
imply also the ratios of contrasts allowed in the space.
As mentioned before, lighting guidelines focus on
vertical and horizontal illuminance levels. Horizontal
illuminance levels are measured on the foor plane
(+0.00m) or on the working plane (+0.75m), where tasks
on horizontal surfaces are performed . For display and
merchandise, vertical illumination is rather important,
as items of merchandise are mainly displayed on racks,
hangers, display windows etc. The same applies on
galleries and museums. In certain applications, semi-
cylindrical illuminance levels also come on use, making
acial expressions and human identication possible.
Such gures mainly apply on exterior landscape or
public realm projects, applications away from the focus
Background 55
 a. Circulation
of this thesis. Corridors: 100 lux, Lift Lobbies: 150 lux
However, it is somehow interesting to take in account
that light level standards drop considerably in exterior
applications compared to the ones recommended for
interior spaces. On one side, this division is entirely
sensible, as it requires more energy and light ttings
to illuminate outdoor environments. On the contrary,
the sense of insecurity is more intense in exterior
environment than interior ones, which suggests that
i lower light levels (e.g. 5lux) are sucient to provide
navigation on an exterior pathway, requiring 100 lux on
the foor plane o an oce corridor to perorm the same
task in a ‘safe’ interior environment could be excessive.

On the other hand, one could defend that the ambient

light levels in the two comparing environments vary to a
great extend, justifying the 100lux as a modest level of
light that does not challenge the adaptation system of
the occupants, while providing a comfortable navigating
eeling. This gure, as with any other, is highly contextual,
meaning that concepts and design philosophies often
welcome an innovative but well advocated approach.

The following pages host a number of instances

accompanied with lighting visual examples of various
applications of the same function when obeying the
standards and when the focus shifts to the user’s
experience. Images enclosed in dashed margins
represent examples complying with the lighting
standards.

The illuminance gures noted ater each unction refect

the recommended lighting values found on the latest Fig. 26: Casa Fink, Sydney, Ian Moore Architects Fig. 27: Bikini Berlin Hotel, 25 Hours, KEC Architects
British Standards for interior environments (BS 12464-
1, June 2011) by CIBSE.41

56 Today Background 57
b. Oce Environments c. Dining Rooms

Ambience: 300 lux, Task Areas: 500 lux Self-service: 200lux

Restaurant lighting according to requirements

Fig. 28: Typical Oce Environment Fig. 29: The Nova Building, Amigo Loans, UK Fig. 31: Klara Waterfront Restaurant, Stockholm, Sweden Fig. 32: Fat Duck Restaurant, Melbourne, Austraulia

d. Museums/ Galleries/ Exhibitions

Special requirement depending on art sensitivity

A lighting design practice deserves no more than

comfortable lighting to endorse a creative working
process. In Elektra’s oce, preexisting lighting is rarely
switched on, as it constitutes a grid of ceiling luminaires
placed in a grid arrangement to cover oce lighting
standards. The quality and the colour temperature of the
light forced for change. All employees are committed to
creating a balanced working environment, in which we
all feel engaged with. From custom light boxes to table
lamp and elements that highlight vertical surfaces, our Fig. 33: Emil Schumacher Museum in Hagen, Germany Fig. 34: Museum by UA Architects
Fig. 30: Elektra’s oce, London, UK
oce encourages playulness, creativity and comort.

58 Today Background 59
e. Retail f. Transportation

Sales areas: 300 lux, Till areas & Wrapping: 500 lux Station Halls, Enclosed Platforms: 200lux

Fig. 35: H&M retail store Fig. 39: London’s Underground Tube, Piccadily Line, Earl’s Court Fig. 40: U-Bahnhof, Westfriedhof, München, Germany

g. Hotel - Public Areas

Lighting based on Hotel Standards

Fig. 37: SND Fashion Store, China by 3GATTI

Fig. 36: Elizabeth Arden, Inc. retail store Fig. 38: Ladies’ Apparel Shop, Japan by Sinato Fig. 41: Lotte’s Hanoi hotel, Vietnam Fig. 42: The London Edition Hotel, London, UK

60 Today Background 61
h. Hotel - Reception
Lighting based on Hotel Standards
Multi-sensorial Design & Atmosphere
Iain McGilchrist notes in his book ‘The Master and His
Emissary: The Divided Brain and the Making of the
Modern World’, “According to the right hemisphere,
understanding is derived from the whole, since it is only
in the light of the whole that one can truly understand
the nature of the parts.”42 As much value and meaning a
part carries, it worths less than the whole that encloses
the valuable parts. A holistic experience is the overall
sensible image shaped in our brain, whereas the
parts are seen by our eyes. The composition of those
individual elements of a space as well as the interrelation
and dynamic among them shapes our perception.
Imagination and perception, a blend of a parallel world
Fig. 44: Alpina Hotel, Gstaad, Switzerland by HBA London
of settings and an intentional world that individuals
Fig. 43: Hotel Atton Vitacura, Santiago, Chile
experience. We are strongly affected by the world of
imagination, therefore we tend to apply or being led by
the signals we receive from our imaginative processes.
Although signals may appear to be entirely different and
Judging from the above examples we could summarise independent upon another, these two worlds actually
on the following conclusions: do have common grounds. Admittedly, perception
balances between rational and irrational. Crucial part of
• In certain cases, illuminance levels may prove this irrationality can be attributed to human imagination.
themselves irrelevant, as uniformity or contrast
dene the nal result When confronting a space, direct feeling emerge. As
analysed above, senses play a crucial role to make
• It is not about the quantity of light used but the a complete judgement. Imagination holds also an
effect created by its presence or absence in a important part in the perceptual process. A space
space engages us when succeeding to trigger all kinds of
processing mechanisms a human body features. The
• Coloured light and correlated colour temperature more imagination is involved as an evaluation criterion,
of light have a serious impact on the perception of the more holistic spatial experience becomes.
the space around us
Working for the universe with universal mediums requires
• Lighting guidelines are limited to values people to nd a way to measure and utilise respectully
concerning mainly horizontal plane, without taking the provided ingredients to serve our scopes. Clearly,
into account the visual attributes of the human working with fundamental sources of the universe
eye being appealed to the verticals. demands adjustment to the human scale, in order to be
62 Today
able to offer an experience the visitor can relate to and
feel sympathetic. Experiencing the world refers to a full
existential embodiment of a reality connected to visual
and sensual stimuli. Sensorial impulses are collected
through skin, taste, smell and audio organs. Human
existence in space also redenes the experience, as it
implies proximity. The human body acts as the actual
limit to our spatial experience.
Using light and darkness in suitable proportions,
designers set up the frame of the experience a visitor
acquires. However, the beauty of human beings is
on the diversity that discriminate us from each other.
Although designers deliver schemes hoping to convey a
message, it is essential to be aware that the margins of
the experience have to be loose, as some people might
choose to interpret the space in a way the designer
never crossed his mind during the design process. A
designer’s job is to suggest his viewpoint, inviting the
guests to feel the space as envisioned. However, this
is not compulsory, as the ultimate wish o the architect/
designer is his creation to be imprinted in people’s mind
and embellished by personal imagination. The number
of interpretations vast, as the parameters differentiating
people are a lot to name. The most common are cultural
mentality and personal memories. Nevertheless,
there is a ne balance between orcing a message
through architecture and indeterminacy. Vagueness
and ambiguity require planning to be achieved in
comprehensive levels. When people nd it too hard to
relate with their environment at rst sight, they give up
the effort. There is a desired balance to be achieved in
order suggest an atmosphere and awaken imagination.
Sensuous atmosphere could be described as a foating
aura that triggers our senses. It is as intangible as light.
The term is used to describe the sensuous impact of
a space to human existence. When a situation gets
Background 63

emotional, sometimes we say that the moment ‘touched’
us. How can a moment have such a strong impact on
human psychology to be compared with a feeling as
tangible as touch implied. It is the spatial atmosphere
that enters the deepest paths of human existence.
The environment perceived is judged by the human
visual system as a whole. The brain has a notable
capacity in receiving sensual stimuli and sensing
various atmospheres translated to the world we see.
This image comes as a result of a holistic judgmental
approach, meaning that the qualities and properties
of the constituent parts could differ radically. This
subconscious procedure shapes the ambience of an
architectural space, dening architectural atmosphere.
The rst impression o a space engages immediately
all senses as well as memory and imagination. Under
a joint force, the character of the room is perceived
and further positive or negative assessments are
developed reasoning further actions. As expected, the
assessments may differ, as each of us appears to have
different sensual sensitivities and derives personal
memories to relate to the experienced space. In some
cases an atmosphere is dened based on cultural,
social or functional criteria.
64 Today
Atmosphere is the overarching
perceptual, sensory and emotive
{ impression of a setting or a social
situation (…) suspended between the
perceived object and the subject.44
―Juhani Palasmaa, On Atmosphere {
Humans exploit their ability to generate almost instantly
an inner feeling for an experienced situation. In the
prehistoric past, this gift was proved valuable, as survival
instincts led humans to avoid dangers and prevented
them from taking high risks that could result to be fatal.
Architecture is equal to a sensuous experience. An
immediate blend between space and human existence
occurs when a person walks in a space. Often space
is seen as juxtaposed to the human factor. Martin
Heidegger commends exactly on this relationship:
“When we speak of man and space, it sounds as though
man stood on one side, space on the other. Yet space is
not some- thing that faces man. It is neither an external
object nor an inner experience”.43
Space is a part of its user, affecting his perception
globally. Even parts of space not included to the visual
eld o ocused or peripheral vision, take part in the
perceived image, proving that experiencing the world
is a total multi-sensorial experience. There is a direct
connection conceived long before the human brain. A
dialogue is established between spatial environment
and human perception. The impression formed is
completely dependent upon the interaction of the above
two and it is established long before is perceived by our
brain.
Background 65
analysis

Approaching such a delicate and philosophical
matter as the primitive relation among light,
darkness and human senses is not easy to
justify. The suggested methodology focuses
on qualitative based methods that range from
theoretical investigation of existing literature
to the analysis of selected cases studies and
physical interviews.
Darkness as a term is involved in a range of
disciplines. Therefore, the approach of the topic
demands encompassing a variety of direct
and indirect methods, where the investigator
eventually collects data in order to form a
structured and justied assessment to be given
to the lighting design world, as a starting point
of reconsidering the role of darkness in lighting
design.
Existing literature:
The rst step analysed in the previous two
chapters found the investigator accumulating
existing information on the topic based on
reliable literature and other scientic sources
to build a credible and solid background.
To establish a personal contribution on the
analysis of the topic the investigator introduces
additional methods in order to strengthen the
results and acquire a holistic image of the
topic.
Case Studies:
Selected examples of projects covering
different application are thoroughly analysed.
The projects are investigated based on a list of
criteria that attempts to highlights similarities
and differences where darkness is used as a
parameter infuential to the outcome.
Physical Interviews:
As awareness steadily grows on the role of
darkness in lighting design, a series of semi-
structured interviews with acknowledged
professionals gave the investigator the
opportunity to grasp the industry’s pulse on the
topic.

Cover Image: Continuel-lumière-cylindre by

Julio Le Parc, 1962
 Space has its own authentic capacity,
and space has to be linked to experience;
{ otherwise we wouldn’t really need
architecture, machinery would be
enough.45
―Daniel Libesking 1. Jewish Museum, Berlin, Germany
{ Architect: Daniel Libeskind
The extension of the Jewish museum in Berlin is
the only museum that gathered more than 300,000
visitors even beore any exhibits lled its generous yet
unconventional galleries. Here, the architecture itself is
the artwork on display. Libeskind aims through the form,
materials, interrelations and arrangements to wake up
and retain memories of the dark pages of Jewish history
written during the WWII with the Jewish complete
extermination and the Holocaust.
Although the exterior of the building appears to be
ruled by high complexity due to the intended shape,
the architect designed the interior, giving priority to
other senses but vision. Arranging the interiors in a
sequence, the visitor it taken by surprise walking in the
museum. Attempting to resolve the space and orientate
himself visually is certainly not the right way to follow.
The space is designed using architecture to underline
symbolic moments of the Jewish culture. The sounds
of the space speak to visitors’ memories, while giving a
hint of the right path to follow. The building is a complex
of ambiguous, diverse spaces that each of them serves
a specic purpose.
Extraordinary architectural intend and great use of
materials, proportions, light and darkness compose an
unprecedented sensorial experience. The museum
proves itself unique due to a number of innovative
ideas that were utilised to express human experience
through architectural composition and design. Visitors
of the museum expose themselves to a long emotional
45 journey that has no way back, no escape route.
Fig. 45: Memory Void, metal faces by Israeli artist Menashe Kadishman
46 Fig. 46: Museum staircase leading to upper exhibition foors
68 Case Studies: Jewish Museum
Lighting methods & Distribution
This project uses both daylight and articial light
accompanied by layers of discreet darkness in favour
o the visitor’s experience. As the visitor nds himsel
entering the building through the neighbouring baroque
building, the rst aspect o the new building one
confronts is a staircase leading below the foundations
of the existing building. The staircase is lit by irregular
cuts on both vertical sides which conceal linear lighting
in cool colour temperature. The staircase lands to a
concourse where natural light is absent. Walking along
the main concourse, two more intersecting corridors
are soon revealed. These three axes, were named by
the architect to refect a dierent period o the Jewish
history.
The lighting technique used previously on the staircase
is found now on the ceiling, centrally located on each
corridor. Light is used as an invitation to the visitor to
move and explore the axes. The effect of this lighting
method is rather dramatic, yet the light distribution stays
uniorm, providing sucient light or sae circulation
along the axes. It is often stated that in order to add a
dramatic character to the architectural lighting scheme,
narrow beam light ttings are necessary. However, in
this case, using linear lighting elements, the architect
accentuates the architectural form and states a sharp
contrast between the lit lines and the dark nish o the
ceiling. Light is used as an element of balance, aiding
visitors not to be misled by the sloping vertical and
horizontal surfaces surrounding them. A small amount
of surface mounted spotlights add crispness to selected
exhibits found along the corridors.
Analysis 69

The linearity of light on the Axis of Holocaust prefaces
the ritual veil of darkness that immerses the Tower
of Holocaust. A sharp shaped interior space with
disproportional height to its foor area orces visitors
to feel helpless and despair. The empty space in
juxtaposition to darkness impoverish visitor’s visual
interest. Extruded walls in exposed concrete create a
cold and impersonal atmosphere, lling the tower in
striking echoing sounds by the occupants’ presence.
Libeskind designed the museum as an elemental
interplay of presence and absence. When it comes to
lighting, natural and articial light never get to meet in
this underground level of the museum.
In the Tower o Holocaust, articial light is completely
absent. Darkness dominates and succeeds to breed
introspection and intimidation. The only hope left to
uplift the souls is brought by a narrow, almost accidental
interruption of the concrete found at the top of the tower.
Daylight drifts in. The tower is intentionally out of human
scale. Hence, daylight does not reach well down to the
foor plane. A smooth gradient where light and darkness
blend generates eternal hues of grey. The tower of
Holocaust is a dead end, leaving the visitors with no
option on the route to be followed next.
All across the museum, light is found to be placed in
high ceiling levels expressing rebirth and expiation. In
the cases of the voids or the Holocaust tower, light has
a holy character, referring to an ultimate destination
away from the dark history revived within the museum
70 Case Studies: Jewish Museum
Fig. 47: The Axes - Circulation
galleries. Darkness is regionally monumental. The Fig. 48: The Tower of Holocaust
experience of the space would have been poorer without Fig. 49: Void - vertical gaps
qualities of darkness planned in the scheme. sectioning the interior
Contrast & Shadows
In opposition to other schemes, Daniel Libeskind treats
light and darkness as a gentle relation. The emotional
charge caused by architecture and materiality is
brought in the foreground, leaving light to travel in space
and surprise the visitor when absent, conveying the
importance of the entered space. Shadows are present
and met in both diused and well-dened status. For
instance, the projection of cuts found on the facade 47
of the building in the interior created by direct sunlight
is equally astonishing and emotionally moving to the
exterior view. The pattern is reproduced in the interiors
by natural light. The border of shadow varies depending
on whether the slits receive diffused skylight or direct
sunlight.
Generally speaking, the greatest contrast is observed
on the relation of the senses. Each sense has a level of
importance throughout the scheme. Sound is found to
have a leading role in the experience of the museum.
In contrast, vision perception although favoured in
certain areas in terms of light levels, proves itself non-
trustworthy, as the visitor’s eyes strive to cope with
illusions and inner challenges. Each dedicated area
carries a message. The conveyance of the message
to the visitors relies on contrast among light, darkness,
materiality and inner balance.
48 49
Analysis 71

Senses involved
The Jewish museum in Berlin is an example of
building where sound stands prominent. A building that
incorporates the desired visual confusion under which
the architect aimed to put visitors in order to push
personal barriers and alert all receptors towards a full
embodied condition born out of the dialogue between
senses and architecture.
Architectural voids showcase the emptiness of the
soul, adding spirituality to the space. Visitors enter
the Holocaust gallery, a disproportional space of great
height and emotionality, where the only light entering
is rom the skylights located fat on the roo. The only
way to cross the gallery is to walking over thousands of
metallic horried iron ace plates that produce a striking
sound in conjunction with the emptiness of the exposed
concrete walls.
72 Case Studies: Jewish Museum
Another area of importance of the museum is the
garden of Exile, where one is led following a different
axis path. Although the visual image of an exterior
garden looks pleasant at rst sight, once visitors nd
themselves walking among a grid of 49 square concrete
pillars, all of which lead to dead ends, the pleasant
eeling turns to anxiety and emotional stress intensied
by the architect’s intentional effect of a 10 degree tilt of
the ground. This architectural decision hides a symbolic
meaning that the architect wished to communicate
through this hanging garden. Loosing the reference
point, destabilisation and walking through a confusing
grid becomes a way to bring visitors out of their comfort
zone o seeing as being enough. The secret to nd inner
balance is only hidden in the sounds of rustling leaves
from the trees planted at the top of the pillars. The trees
bring calmness to the visitors’ souls and unconsciously
Fig. 50: The Garden of Exile
Fig. 51: Metal faces in Memory Void
Fig. 52: Exterior facade - Zinc metal sheets and window cuts
Figure 53 (left page): Sketch of Museum Exterior
50
51
alert them that vision can be overwritten or fooled in
many ways.
Materiality
The exterior surfaces of the building are wrapped
with a layer of zinc sheet, a material that stands clear
in a dialogue to the surroundings trees, highlighting
the contrasting dialogue of architecture and nature.
A seemingly random placement of slits interrupts the
zinc sleek surface, resembling scars, some of which
are windows that let natural light penetrate the solitary
exterior. This building is an extraordinary example of the
positive side of how material technology aided to take
windows a step ahead and affect the interior creating
attractive and meaningful shadow and light patterns that
52 enrich the perception of the space.
Analysis 73
 Architecture is not about orm, it is about
many other things. The light and the use, and
{ the structure, and the shadow, the smell and
so on. I think orm is the easiest to control, it
can be done at the end.46
―Peter Zumthor
Fig. 54: Interior swimming pool of Thermal Baths, Vals
Fig. 55 (right page): Sketch of interior expressing high brightness contrasts
74 Case Studies: Thermal Baths
{ 2. Thermal Baths, Vals, Switzerland
Architect: Peter Zumthor
Bringing architecture close to nature is already an
immense challenge to accept. The closer to nature
the more considerate and most importantly respectful
designers need to be. Nature is the core of human
existence. This is where we came from and is where
we conclude. With this principle in mind, Peter Zumthor
designed and built a spa/ hotel and treatment centre
in the mountainous small town of Graubünden, Vals in
Switzerland.
The architect intended to offer a complete sensory
experience to the visitors of the Baths using
architecture, light and darkness. The entirety of this
architectural space pays respect to nature’s majesty
and invites nature to form architecture as well as the
human experience in it. Going against the preexisting
hotel complex that raises 6 foors above the ground, the
thermal baths take advantage of the topography of the
area burying two sides of the building below the ground.
The facade that is left to be seen provides a dual direct
dialogue; between nature and architecture and also
between nature and visitors of the spa who have the
chance to admire an untouched by humans landscape
lying in front of them and through the full height glass
window which frame the viewpoints of nature.
The roof of the structure plays an important role on the
integration of daylight in the building. Covered by grass,
the building in consisted of smaller modules different in
shape and size laid one next to each other forming the
interiors of the building. The gap between the modules
forms various thin slits that intersect and penetrate the
interior creating a sense of lightweight, while leaving
portions of daylight to enter the structure in a designed
manner. It almost feels like darkness is not to be
disturbed by daylight’s conquering character.
Daylight and darkness blend into one another, blurring
the borders of where one starts and the other ends.
The contrast values the human eye deals with however
are quite extraordinary. Contrast is observed as a
dialogue between inner and outer, interior and exterior,
architecture and nature. As the space develops uniting
the interior with the exterior, the visitors face immense
contrast challenges while moving through the interior
and exterior treatment areas. Human bodies are being
rendered as silhouettes moving in a dark interior with
the exits towards the exterior environment as a bright
background.
Air plunges freely circulating nature’s scents within the
building. Especially during spring and summer seasons,
when nature makes its presence prominent bursting the
surroundings with life, smell is triggered as an added
touch to a multi-sensorial experience.
This treatment centre is one of the few architectural
spaces that just by seeing images is enough to feel
the atmosphere of the space. One almost feel that
can witness the temperature of the water, the sense
of freedom while swimming, the sense of the textured
walls covering all surfaces throughout the building
accentuating its energy fux.
Analysis 75
The material palette is kept clean, minimal and
sophisticated. The architect chose to make a statement
and suggest a new perspective on the relation between
architecture, nature, light and darkness. Without a
doubt, the most persuasive trend of the deliberated
architectural era is merging interior with exterior
environment by letting thin layers of transparency be
the only boundary between an open and an enclosed
space. Peter Zumthor proves that there is another way
to put nature delicately under the spotlight. In fact, the
entirety of the Vals Baths is a multiple reference to nature
and its majesty. Albeit the architect decides to frame the
visitors viewpoints by keeping geometrical openings to
the spectacle of the landscape, nature is indirectly on
every step of the visitors journey throughout. Materials,
lighting scheme and routes are all carefully considered
architectural decisions that align harmonically inviting the
visitors to explore, experience, memorise, feel, connect.
This building is all about connection. Connection with
our inner soul, our primitive instincts. Connection
with humanity’s roots; nature. Connection with other
people through the articulation and the structure of the
treatment areas.
Fig. 56 (both pages): Overall perspective of the interior
76 Case Studies: Thermal Baths
The functionality of the space as a temple of wellness
and relaxation and the idea of holding the bonds
between humans with the ritual of bathing drove
the design intend. Peter Zumthor aimed to create a
comfortable environment where guests would get
in contact with nature’s elements; water playing the
main role. Water becomes prominent in all its faces
referencing the existence of natural hot springs in the
area. Light and darkness in various proportions have
been used to express the character of each space of
the treatment centre. Darkness bathes its interiors with
spirituality. Light has been used selectively to navigate,
inform and motivate guests to explore architecture in a
journey through purity and authenticity.
Sound and its absence sometimes seem to hold also
an important part of the experience. Sounds that echo
as they travel across the interiors carry information to
be processed by visitors. As the layout of the interior
intends to encourage a hide and seek game between
visitors and architecture, spaces and services are not
obvious but open to be explored. Visitors being visually
restricted due to spatial arrangement and low light levels,
bring sound in the foreground to prepare the grounds
before touch takes the charge. The sound of the water
running brings calmness and peace in people’s mind
and lls the air with a pleasant song. Listening to the
music of the stones receiving water plopping to the
walls, spa’s users feel embraced by elements of nature
that compose a harmonic melody to accompany their
stay.
The thermal baths of Vals could be described as a merely
haptic environment. The haptic stimuli embedded in
architecture awakens the entire body; naked as brought
to life by nature. The scenery is kept simplistic, as visual
information carry less important data than the haptic
or audio stimuli. The eye is left to gaze the peaceful
mountains and the timeless architecture while the
skin experiences the prime need of cleansing through
bathing. The feel of water in different temperatures, the
feel of evaporating steam out of the hot springs, the
feel of smooth stone touching every inch of human skin
heightens all primitive senses and instincts.
Analysis 77
Fig. 57: Overall perspective of the interior
Fig. 58: Detail of wall material and ceiling creviche
Fig. 59: Viewpoint to nature from the interior
On the height level, daylight appears mainly in linear
form, running either on the edge of ceiling and wall
joints or in a interrelation with the low level layout of
the space. In the rst case, sot daylight grazes down
the textured walls, covered entirely with local stone, to
highlight wall relief and create a feeling of dipping down
in a cave where daylight penetrates through various
natural slits of cracked stone.
On the second case, linear openings on the ceiling
circulate across the informally laid out interiors as an
element of navigation that serves as a safety net and
provides comfort to the guests. The well calculated
amount of daylight entering the space contributes on
a balanced ambience and proves that functional light
does not necessarily need to be plenty or even. Square
shaped small skylights allow natural light to wash the
indoor pool providing also information about time,
exterior weather conditions etc. Zumthor’s wish was to
leave time to be perceive and interpreted by the visitors
relating to the exterior environment. However, he could
78 Case Studies: Thermal Baths
57
not avoid to place one only clock that could go unnoticed
if visitors fail to observe the details.
Daylight has a signicant impact o the interior o the
spa. Over the course of the day, the exterior weather
conditions are being translated into various lighting
effects created by the gaps in the concrete ceiling
among the interconnected units. Sunlight gives sharp
well dened beams o light washing down the stone
walls, while skylight during an overcast days smoothens
down the effect turning it to a soft wash that grazes the
walls. The character of the spa changes as the day
evolves. During twilight hours, natural light fades away
and gradually the weight of the visitor’s viewpoint shifts
to the lower level, where illuminated waters highlight
human movement and body lightness. Darkness aids
any unimportant details to go unnoticed, putting the
illuminated water in the centre of attention.
Articial light blends in the scene located mainly at low
level. On the contrary to the manner daylight is handled
59
by the architect, articial light is ound in single point
forms such as wall mounted subversive luminaires
or pendant lights in circulation areas. The colour
temperature o the articial light is ound to oppose itsel
with the cooler hues generated by daylight plunging
into the water. Articial light is being used even during
daytime, as in some areas of the baths the surrounding
shell prevents any incoming visual information with the
exterior bathing the interiors in darkness. Light then
comes to relief, to highlight and provide comfort.
Air is left in darkness; water is bathed in light. Mass
lies in between captivated by layers of light and shade.
Illuminating water is often fascinating to the human
eye. Its fuent movement generates visual illusions or
human visual perspective while declines the stationary
quality o a xed installed light tting. Water has the
capacity of making light to travel through its mass
and spread its effect on the surrounding areas taking
even designers by surprise with its limited ability to
be controlled. Water ripples is a classic pattern effect
58
caused by the meeting of light and liquid elements. The
moving ripples add harmony and playfulness to the
simplicity of the space, maintaining its genuine effect of
a nature’s phenomenon. Recessed wall lights under the
surface of the water generate a sparkling effect as the
water moves by visitors bathing in it. The human body
deliberated; this was Zumthor’s vision. Skin in contact
with embracing regenerating waters that let gravity
loose and free human soul. Temperature of the water is
also expressed through the use of colour and contrast
bounded on the materiality utilised.
Peter Zumthor created a timeless piece of architecture
to convey the abiding relation that links human
sensuality and nature’s elements. He delivers a piece of
architecture that succeeds to retained its own cosmos,
in which people are invited to be relieved by anything
that burdens their existence and open their minds and
souls to a deliberating feeling of connection with their
own inner humanity.
Analysis 79
 A marketing strategy that is very
targeted, precisely executed, nothing is
{ let to chance. It is multi-sensory.
3. Abercrombie & Fitch Flagship Retail Stores
―Karl McKeever,
Marketing Brand Director
Abercrombie & Fitch (A&F) is a special case of retail
{ chain that chose to break the rules of retail design
and branding, introducing new ways to experience
merchandising environments, promoting a multi-
sensorial philosophy in the clothing marketing industry.
The brand’s success relies heavily on the sensorial
design decisions taken and applied on the chain’s
stores all across the globe. Abercrombie is not only
about clothing but also about a certain lifestyle.A lot
of thought has been put into the design of the stores
whose ultimate purpose it to attract customers, boost
the sales and pass the right message to the selected
target group. The marketing strategy followed is very
precise, discipled and focused. Brand director of retail
marketing consultancy Karl McKeever says, “It’s very
targeted, precisely executed, nothing is left to chance.
It is multi-sensory.”47 And it is indeed. Light, darkness,
music, scent are powerful tools in A&F’s palette that
have been thoughtfully planned to serve each of them
a particular purpose. Collectively aim towards the ideal
marketing plan that leads to successful merchandising.
Lighting Methods & Distribution
Analysing the lighting design scheme followed,
darkness is found to be an essential ingredient of this
recipe. Darkness seems to conquer the majority of the
foor area, leaving highlighted only changes on foor
level. Attention has being exclusively put to products
and graphic wallpapers of mannequins representing
the type of target group the brand is oriented. In order
to achieve this, shelves and wall displays have been
equipped with miniature high power display lights with
narrow to medium light distribution in order to light the
products and bring up texture and colour. The small
scale o LED ttings has provided the possibility o
integrating the miniature spotlights on each side of the
shelves for a sleek result that offers full control and
Fig. 60: New York nterior perspective o Abercrombie+Fitch retail fagship store by Selldor Architects
80 Case Studies: Abercrombie & Fitch
fexibility. This method is applied on all wall product
displays of the stores, illuminating the vertical plane to
bring up contrast with the dark foor.
The second lighting method used extensively is track
mounted theatrical spotlights with barn doors. Barn
doors provide glare control and give full versatility on
adjusting the light beam according to specic ever-
changing needs. Self-standing product displays, wall
advertisements, feature artworks, mannequins and
circulation are mostly being covered by luminaires
as such located at high level. The light distribution is
of high importance as the products need to come in
the foreground. The theatrical character of this old-
ashioned ttings adds value to the atmosphere o the
space, bringing up a sense of catwalk or cinema quality
to the space.
In some o the fagship stores o A&F, we also nd eature
lighting holding the role o making a rst good impression
by giving a sense o luxury to the space. Glowing fights
of staircase, outstanding vintage chandeliers and other
gaudy lighting elements make visitors feel they belong
to elite. The interior design praises vanity, building up
an illusionary self-esteem and ego to young malleable
teenagers of society’s middle to high class families.
Loose decorative ttings complement the lighting
scheme both at low and high level, creating an inviting
atmosphere for the customers to relax while shopping.
Dimmed down to a very low light level, decorative ttings
only add a pleasant glow in the case of table lamps or
a sparkle effect when it comes to chandeliers. It almost
feels like the aim of the designers is to encourage a long
stay in the magical world of A&F, where the more one
stays, the more is about to spend.
Analysis 81
All light ttings operate on a dimming protocol with the
ones responsible for merchandise to be dimmed up at
a relatively higher intensity to attract the eye and make
customers circulate around products. Narrow beam
spotlights reveal only hints of the displayed products,
inviting customers to physically approach them, touch
them and feel the fabrics and textures. These is an
instant change of attitude between the distant eye and
the intimate hand that touches to explore. The greatest
difference between online shopping and an actual visit
on the store lies on touch. Touch provides information
that the eye would not be able to convey. Texture,
thickness, elasticity, roughness and consistency are
only a few key factors as retrieved information resulting
by touch. Once the marketing strategy has succeeded
to direct the footsteps of the customer towards touching
the product, the customer is unconsciously a step closer
to purchase the goods.
It is worth mentioning that a common point among
all A&F retail stores, is the lack of daylight in the
interiors. Daylight is entirely excluded of the lighting
design scheme. Interiors have been treated as
located underground therefore, one sees most of the
retail stores facade being blocked out with blinds that
prevent daylight to penetrate the interior. This strategy
supports the argument of trying to erase the sense of
time when being within the store, while triggers the
curiosity of the outside passengers to enter. Lastly, the
experience of the customer is fully dependent upon the
interior conditions, and hence can be tailored any time
of the day in any retail store of the chain in the world,
maintaining a coherent scheme.
Senses Involved
Apart from the visual sense which balances on occasion
between photopic and mesopic vision, the experience
of being in a A&F store is highly multi-sensorial. The
eyes are being challenged, especially when entering to
the stores on a bright sunny day. The human adaptation
82 Case Studies: Abercrombie & Fitch
system gets activated, demanding slow movement until
the moment vision is properly adjusted to the low light
levels occurring indoors. Visual pollution is all being
hidden in the darkness, leaving the products to become
the centre of attention.
Not only vision, but also a number of other prime senses
are triggered in A&F retail stores. Scent stimuli is a
factor that normally retail chains embed in their shop
design, as an effort to promote the sense of cleanliness
of a well taken care space. However, it is only an
element that plays a small role in the background
and it has never been treated the way A&F branding
team chose. Sometimes, when people stay loyal to
a fragrance for a number of years, one could identify
or relate their presence in a room by the fragrance.
Scent, as mentioned previously, is the stimuli that can Fig. 61: Grand staircase of multi-storey stores
be remembered the most compared to other senses. Fig. 62: Crystal chandeliers as feature lighting elements
This characteristic of human nature was used by the Fig. 63: Bold design elements juxtaposed to the products
marketing team to create a strong scent memory. It only on display.
takes once to visit an A&F store to remember this scent 61
and be able to identify it among others. The interiors are
sprayed using the brand’s fagship ragrance, ensuring
it leaves an notable trace to visitors. The scent needs to
be strong enough to suffuse the fabric of the products
and the customer’s clothes during their visit in the store.
A&F’s focus on providing the customers with a certain
atmosphere is aided also by the loud beat music that
deluges the stores’ interiors. A high energy music keeps
the customers tuned with the energetic environment,
which resembles the atmosphere of a night club. Retail
marketing experts claim that, an intense loud music
keeps customers in a heightened emotional state that
is used as a sales booster. This type of music originally
attracts customers of younger age, which is precisely
the target customer of A&F company. Sound stimuli is
a parameter that is included in most sensory branding
plans developed by retail companies due to its subtle
but yet profound effect on customers psychology. 62 63
Analysis 83

Target audience
It has to be noted that such a marketing model could not
be applied with success to any retail brand. A&F early
decided that the target group of their products is young
people ranging from teenagers to young professionals
that have a certain attitude and who can afford
nancially to buy the goods. Apart rom the demographic
characteristics, a typical A&F customer has a certain
liestyles infuenced by the American dream and also
shows the ambition of being and looking desirable.
Contrast & Shadows
Although the interior design of A&F’s retail stores has
a denite identity, lighting has been planned in a way
that hints of the store will emerge from darkness to keep
products on the rst line and intensiy the experience.
Display lighting is certainly the most prominent lighting
element of the space. Choosing miniature track
spotlights with medium beam light distribution placed on
the sides of each display shelf, products are rendered
dramatically. Focused lighting highlights some areas,
leaving others to be lit rom eld angles or refected
light. The difference between the above method and a
commonly used method of having linear diffused light
washing the products is obvious on the media images
on the right. Contrast in the form of sharp shadows with
well-dened shadow border line conquers the entire
scheme of the stores.
Artworks, wall decorations and mannequins are all lit
with well ocused narrow beam light ttings that saturate
the relief of the rendered item. Wallpapers and graphics
receive focused light on selected areas of interest to
communicate a story.
84 Case Studies: Abercrombie & Fitch
Materiality
Contrast is not only a product of light and darkness.
Illuminated surfaces neighbouring with dark materials
can also form a strong contrast relation. Such an
example is the main vertical circulation point, the
staircase, transformed into a feature element in all
multi-storey retail stores of the clothing chain. The
metal base structure of the staircase coated on a dark
semi-polished nish makes the backlit steps stand
out profoundly. This intended contrast navigates the
customers, encouraging them to explore the upper
levels of the store, while meeting the safety regulations
on level change.
To a great extent, materiality proves to play a crucial
role on the achieved atmosphere. The most dominant
cladding material of the interior surfaces and the display
furniture is dark timber. Flooring and ceilings are kept in
dark tones to avoid attracting attention, while absorbing
refected light rom the displays or the ceiling spotlights.
Walls are either cladded with dark timber or covered
with advertising material. The use of dark materials,
with low refectance actors, assists darkness to unold
in layers, subjugating unintentional scattered refections
and providing full control of the area to which light spans.
The presence of the light becomes hence prominent
and its intensity is perceived stronger when opposed to
neighbouring areas of lower light levels.
A&F stores is the proof of how different the environment
would have been perceived if materials did not match
the lighting scheme and vice versa. It is certain that
the multi-sensorial marketing strategy would not be as
successful and ground breaking as it turned to be.
64 65
Public opinion
Although A&F’s success in ruling teenagers outts or
a number of years, the clothing chain received harsh
reactions towards its store design and its marketing
strategies put forward. Lighting, music and scent kept
middle aged customers away from their stores. Over
the years, the once trendy model that initially attracted
customers due to its uniqueness became rather
uninteresting and gradually lost its effectiveness as
sales booster.
The British lighting magazine, Lux Review, reports that
during the company’s last scal year, sales have dropped
by 9%48. Due to the raise of campaigns supporting
people’s body diversity that suggest reconsidering
beauty standards, A&F’s ideal body and lifestyle world
no longer refect people’s mentality. The new president
of Abercrombie decided to change the company’s
policies and refresh their followed marketing strategies
in order to refect their customer’s evolvement. When
it comes to retail lighting, schemes must constantly be
66
reviewed and readjusted based on human behaviour
Fig. 64: Ordinary lighting treatment of display shelves in shoe shop
studies. To keep sales up, which is the ultimate goal
Fig. 65: Shelf and display lighting in Abecrombie stores of every retailer, target customers’ senses need to be
Fig. 66: Detail view of display mannequinns illuminated with sharp contrast stimulated and curiosity to be triggered.
Analysis 85
 The combination o purposeul
lighting elements expressed emotion
{ through light.
4. Futako Tamagawa Rise Galleria, Tokyo, Japan
Lighting Design: LightDesign Inc
―IALD Judges Committee
Darkness is not always within the scope of design
{ since early days. A great example of such a case is the
Futako Tamagawa Rise Galleria, located near Tokyo,
a commercial public space that comprises retail units,
oces and a transportation station, all interconnected
via a covered galleria. The main concourse is accessible
to the public at all times of the day. The pedestrian space
is endowed with plenty of natural light during daytime
due to the large glass roof protecting the visitors from
occurring weather conditions.
The most interesting aspect of this lighting scheme
lays on the act that the nal outcome was dramatically
infuenced by a natural disaster. Initially, the lighting
design rm o the project, LightDesign Inc had
developed a scheme fully contracted to the respective
lighting design guidelines commonly complied for similar
applications. It is not to neglect the fact that preventing
safety hazards plays a crucial role in the Japanese
commercial public realm design.
However, history has proved that the greatest
achievements of humanity have emerged on surface
due to accidental processes or other uncontrolled
natural coincidences. Such a coincidence was the
Great Hanshin Earthquake which although it did not
affect directly the Futako Tamagawa area, it compelled
the galleria to conne the building’s energy load in order
to cope with the outstanding shortage in nuclear power.
Despite all the efforts and willingness of the designers
to provide a lighting scheme that meets the design
standards for commercial areas which levels up to 500
lux on the foor plane, the circumstances ollowing the
earthquake were extravagant, demanding for a radical
alternative solution. The project’s lighting had to be
examined and readjusted based on the time of the
Fig. 67: Futako Tamagawa Rise Galleria, IALD Excellence Award Winner 2012
86 Case Studies: Futako Tamagawa Galleria
day, the fow o the pedestrians, proposing the lowest
ever used light levels on public spaces. Therefore, the
galleria was designed to use only 30% of the vertical
average brightness levels of other transportation nodes
in Japan.50 The design rm was challenged to set a
margin of comfortable moderate darkness that would
ollow the natural rhythm o the day, refecting the sky’s
various faces from sunset to sunrise.
It is also to be noted that in 2011, when the galleria opened
to public, LEDs were still not good enough to cover all
needs of a lighting scheme. The general lighting of the
space, implemented with a sequence of 150W metal
halide luminaires, setting the bar of energy consumption
high. The rest of the linear features of the space as well
as the concealed lighting in the connecting bridges
was done using both LEDs and Xenon lamps in order
to achieve a very warm sunset colour that LEDs were
unable to deliver at the time. Hence, to save energy, the
designers decided to eliminate the operating hours of
the metal halides to the furthest extent. The drop of light
intensity was signicant. During late hours o the day,
the galleria was calculated to maintain an average of
10lux on foor level, a level o light that rests on the low
end of photopic vision’s range.51
The result surprised both general public and international
lighting associations. The outcome of this experimental
process of re-framing the limits of moderate darkness
won the IALD Award of Excellence in 2012. As one of
the judges pointed out, ‘the combination of purposeful
lighting elements expressed emotion through light.’ 52 And
it is indeed a much more intimate journey for the visitor
to go through the galleria than any other excessively
lit commercial space in Japan. The designers, using a
lighting control system, set the scenes progressing from
late afternoon to overnight, creating a dynamic ever-
Analysis 87

changing experience according to the time of the day.
Not only they offer an interesting scheme to be awarded
from lighting designers but also they offered a purposeful
experience navigating the visitor through the galleria
using sparkles of light in a generally dark environment.
If uniformity factor was set high, elements such as the
projected stars on the foor and the top lit bespoke
light poles would not shine enough to trigger people’s
attention towards them. In-ground linear ttings provide
direction, while giving a playful touch onto the design.
Materiality is also favoured from the dim light levels
occurring. Transparency, polished metals and solidity
obtain their own character, allowing the eye to prioritise
the visual input received.
Imaging the main concourse pictured above retaining
500 lux or even 600 lux close to entrances (as per the
guidelines)53 at all times. A visitor would approach the
galleria during nighttime having his eyes adjusted to
the urban landscape lighting around the galleria, which
does not reach anywhere near 80% of the 500lux that
the galleria would have been designed with. According
to the guidelines, pathway lighting is set to 2 lux or even
high trac pedestrian areas demand around 20 lux.54
15-20% difference of light intensity is the average
human threshold of perceiving visually the difference in
light intensities. Therefore, visual discomfort would be
unavoidable, confronting illumination levels increasing
from 20lux to 600lux and vice versa; a 300% increase.
The guidelines intend is to keep the designed space
safe and comfortable for the user. In the case described
above though, obeying the guidelines would have led
the designers to achieve the opposite.
88 Case Studies: Futako Tamagawa Galleria
Senses Involved
Although the Rise Galleria’s design is based
predominantly on visual hierarchy, lighting elements
suggest an alternative level of visual comfort. The most
common argument to be put forward in similar cases
concerns safety and security, supporting that a well-lit
spaces imply a safer environment. However, Futako
Tamagawa Rise Galleria is a real-time example of pure
design that refects the needs o the user, while rises
awareness of time in relation to human rhythms. Light
levels of each preselected scene respect the adaptation
process of the human eye taking in consideration the
impact of natural light in the space. Fig. 68-70: Perspectives o nighttime
impression of the Galleria and close-
Lighting methods & Distribution ups of the lighting elements utilised.
The lighting methods used in this project vary, as one
of the strongest principals followed relies on layering
light and darkness. The designers infuenced rom the
lit shop fronts surrounding the Galleria, extended the
use of vertical illumination as an effective way to make
the space feel bright enough, encouraging in the same
time the visitors to look upwards. Concealed linear LED
and Xenon modules were embedded at the top side of
the connecting bridges grazing down to create a smooth
gradient of light to dark. This lighting element along with
the illuminated shop fronts are the dominant sources of
light of the space during evening hours.
High power metal halide foodlights provide general
illumination on the horizontal plane operating only
during the transition period of twilight, when daylight
gives gradually its place to night. This shows how design
can be infuential but also be aected and adjusted by
occurring light conditions o a space strongly infuenced
by daylight.
Analysis 89
Fig. 71: Late evening scene setting with foor projections
In this particular application, it is of high importance to
make sure that direction and movement is encouraged.
Light has been repeatedly used as orientation nder
due to people’s primitive reaction to be navigated by
light. In-ground linear modules lead the way through.
During evening hours, light ttings located on low level
prove to be more impactful and noticeable by people,
favouring intimate feelings of familiarity. The lumen
output albeit low is effectively enough to reinforce
movement. Moderate darkness occurs on the horizontal
plane, leaving verticals to be lit, surrounding the space
with a comfortable diffused glow.
As an element fairly representative of the Play of
Brilliance described by Richard Kelly55, a projected star-
eect foor along with glow sticks accumulated around
the meeting points or seating areas of the galleria serve
as a presence indicator that spices up the lighting
90 Case Studies: Futako Tamagawa Galleria
Target group
Futako Tamagawa Rise Galleria balances on the borders
for various reasons. It is practically a public space,
nonetheless designed in a personal way with great focus
to its users. The lighting has been designed showing
careful consideration of people’s natural rhythms, a fact
that is often overshadowed by the occularcentric highly
consuming retail environments. Also, by denition this
Galleria is clearly a transition space; a space where
people circulate among transportation station, shops
and oces, but also mingle or rest on the seating areas.
scheme. Their impact relies heavily on the occurrence An additional reason that reinforces this scheme is its
of low light levels in the surrounding space. functionality. People are not requested or expected to
implement any specic task in this galleria, it is purely a
Contrast transition space. Although its roof spans along the entire
In this project, darkness has been used as a base, galleria, it is hard to classify the main concourse as a
on which lighting methods are introduced to provide indoor or outdoor space. The amount of natural light
essential functionality. One could say that here penetrating its entirety makes the galleria responsive
darkness is not regional but expansional, allowing to the weather conditions occurring, a quality mainly
to the lighting elements introduced to shine and urge observed in outdoor areas.
intimacy and architectural intonation. Contrast ratios are
not excessively high, due to average light levels being The type and age of the public is not restricted to one
low. Contrast is also affected by colour that grades from social group, as the Galleria is accessible to everyone all
amber to red, purple and night blue both in the bridges times of the day. The sky is a dynamic part of Galleria’s
and on the in-ground ttings. The strongest contrast design, as the space feels a lot different at different
is observed between the vertical and horizontal plane times of the day. Even by accident, Futako Tamagawa
illumination refecting a conscious design consideration Rise Galleria achieved to establish a new perspective,
of the design team. offering a meaningful place to be experienced, enjoyed
Fig. 72: Bright scene setting with ceiling foodlights and individually interpreted by its users.
Analysis 91
 (...) it’s enough or me i they leave with the eeling o having been
part o an experience, whether it comes through the movement
{ and the lights, or because they had to participate in some works
like games and questionnaires, or because the presence o the
spectators in front of the work produced some kind of change.
No single way o looking at the works is imposed on them, and no
two interpretations need be the same.56
―Julio Le Parc
{ Julio’s greatest wish is his work to be approached by
Fig. 73: Julio Le Parc, Continuel-lumière avec ormes en contorsions, 1966/1996
92 Case Studies: Julio Le Parc
5. Julio Le Parc Solo Exhibition,
Sackler Gallery, London
One o the exhibitions I had the luck to nd mysel in late
January 2015 in Serpentine Sackler Gallery, London,
was dedicated to the Argentinian artist Julio Le Parc,
who is a great supporter of light and optical illusions.
the people not only visually, but mainly sensually. Le
Parc was active in a period when most of the artistic
exhibitions did not allow the visitors to touch or interact
with the exhibits. It was that period that gave him the idea
of creating a series of works that people could meddle
in and gain a full embodied experience. The artist takes
a wise decision in order to invite the audience to feel
comfortable with the dark space they enter, while in the
same time coming closer to art. Most of the exhibits
were displayed bathed in dim light, as it is only under
this level of light his work can be enjoyed and fully
perceived, as per the artist’s intention. Another common
ground among the artist’s creations, is their abstract
geometric character. Taking reference from elemental
shapes and forms, such as spheres and cubes, Le Parc
attempts to showcase an approachable fragmentation
of eternal contemporary simplicity.
In some of his works, he clearly disregards the sense of
sight, not only by dimming the light. Julio enhances this
decision by strong visual illusions that encourage the
visitor to nd alternative ways to recognise the validity
of his works and interpret the artist’s think-through
process that led him to the nal result. The majority o
his works appear to have kinetic properties captivating
the attention of the visitor. Movement allows the visitors
to gaze the causality of repetitive or random mobility
leaving an impact to the artworks. Ultimately, Julio Le
Parc intends to generate a multiple image comprised
by sensorial stimuli received, being as multiple as the
layers of materials he often uses in combination with
light.
Materiality
Julio is one of the artists who seem to have deeply
analysed the properties of the materials that he uses to
compose his works. Materiality and physical form are
being revealed at their epitome here, since the rest of the
mechanisms and ideas behind the artwork are relatively
simple. Through his work Julio proves that to create an
impactful experience and excite human imagination, one
does not need to use complicated processes that would
rather make the visitor feel distant to the artwork. Julio
Le Parc achieves to give to light tangible dimensions, as
his work often evokes the illusion of being able to touch
light. Nevertheless, it all lies on the materials that he
uses. Having a passion for materials and surfaces that
eature high refectance and light transmittance, Julio
succeeds to reveal light beyond its conventional use.
Light and darkness is being used as multiple layers of
opacity resulting to solidity.
Lighting methods
Julio shows an evident interest in light and shadow
patterns produced mainly by single point sources
carefully directed to occur interaction with the selected
materials. Most of his artworks are endowed with light
sources being concealed to avoid direct interference
with the visual eld o the visitors. The impact o the light
strikes the plunged darkness, in which the exhibition
takes place. Movement and visitor involvement seems
to play a crucial role in the embodiment of his conceived
ideas. Visitors are invited to move independently in the
space, interact and explore the message each art piece
wishes to communicate. Visitors are ree to nd the
beauty in the abstract form, explore the space and give
their own meaning to the works.
Analysis 93

Senses Involved
One of his works that engaged my personal attention
the most was a boxed room where mirrors hanging
in a tight grid arrangement. Narrow beam spotlights
were used to provide accent and selective illumination
to the room. The visitor could walk inside the room,
causing the movement of the mirrors and consequently
producing multiple idols of himself. It is hard to describe
the emerged feelings while spending in the room.
Although light is sucient to enable sight, the multiple
idols on the mirrors fool one’s eyes, proving the sense
of sight inadequate. The narrow light beams create
sharp shadows on the refected images, while the
reproductions o the space and one’s gure aids the
loss of space and dimension, leaving the visitor unable
to estimate the scale of the room. Until this point, one
could easily make a rational judgement and confess
that one would not feel comfortable being in this room.
Due to this extreme combination of factors, panic could
be unavoidable.
Time acts controversially in this space. One would
expect to familiarise with the mirroring effects after a
short time, however the more time one spends in the
room the more inescapable it feels. It is precisely that
moment when brain and vision disfunction and it is up to
the rest of the senses (and not only the other 4 primary
ones) to act. The sense of touch plays a dominant role,
recalling Ashley’s Montagu theory stating that, ‘Touch is
the parent of our eyes, ears, nose, and mouth. It is the
sense which became differentiated into the others, a fact
that seems to be recognised in the age-old evaluation
of touch as the mother of the senses’.57 Touch led me to
sense the space, to gain understanding and almost seek
inner calmness, avoiding reality and facing a moment
of introspection and intimacy. Imagination shaped
94 Case Studies: Julio Le Parc
Fig. 74: Cellule à pénétrer- 1963-2005
Fig. 75: Lumière en mouvement- Installation- 1962-1999
Fig. 76: Cellule à pénétrer- 1963-2005
Fig. 77: Boîte lumineuse- 40 x 63 x 15 Cm- 1960
instantly parallel worlds that are weak or often defeated
towards the rigid structures of today’s architecture. Julio
Le Parc’s works is denitely a unique opportunity to
realise the importance of sensorial experience and the
necessity of having such moments embedded in today’s 74
architectural environments.
The success of Julio Le Parc artworks lies heavily on
the contextual darkness in which artworks are placed in.
The atmospheric quality of his exhibition would be hard
to appreciate in the absence of a dark canvas. His work 75
is an invitation to experience art away from its distant
barriers. After all, art is the least to be seen and the most
to be experienced. Darkness, contrast and shadow have
being treated in a different manner to the architectural
case studies analysed previously. Darkness has been
contextualised to the application, serving the envisioned
artistic scope. Generally, darkness is observed to its
extreme when embedded into art installations. Artists
have been using high contrasts freely to create dramatic
environments to be excused by their physicality of being
temporal.
Art exists in our cultural world to suggest alternative
mindsets, propose new perspectives and perhaps recite
a prologue to potential elements that could be borrowed
from art and be transferred to our build architectural
environments. Julio Le Parc’s exhibition challenges
visitors to feel comfortable when being visually fooled,
attempting to subjugate scepticism, transcend the
obvious and introduce a playful dynamic series of
artworks that put the visitor away from the inertness
a secure and visually conrming environment would
impose.
76 77
Analysis 95
 Case Studies: Review of Results
Case Studies - Summary Chart
The chart on the left summarises the analysed criteria
Jewish Thermal Abercrombie Futako Julio Le Parc for all case studies. Based on the approach the thesis achieves to come rst in line, the above case studies
Museum Baths & Fitch Tamagawa Exhitibion follows, the established criteria have purely qualitative use visual stimuli to lure the user’s attention and urge
Galleria character. The matrix attempts to condense information him to invest time that would hopefully allow to the rest
on the observed qualities of light and darkness in the of the senses to emerge in the foreground. It is hard
public above analysed case studies. Going against the initial to note with certainty the hierarchy of the senses on
Application museum recreation retail art
commercia thought of darkness being suitable only for marginalised each case. Perhaps this can be explained due to the
applications distant from functionality, the analysis has fact that the order of importance is being reviewed
User Age
any 30+ 15-30 any any proven that designed darkness can be malleable and throughout the architecture. Also, the senses’ hierarchy
Group
adaptable to the occurring circumstances. Darkness is strongly dependent upon and relevant to subjectivity,
diffused is applied in a wealth of handling methods with as each user can be more or less sensitive on individual
Lighting dramatic high contrast ratios being the most common form sensorial stimuli.
layers of light dramatic layers of light dramatic
Scheme theatrical of expressing darkness in architectural space. The
& darkness
contrast ratios dene the clarity o the shadows. There Each sense contributes diverse information to the user’s
linear grazing vertical is a tendency darkness to be perceived as an element spatial experience. The more balanced the received
linear diffused skylights narrow beam illumination narrow beam of space when placed next to high intensity of light, stimuli is shared among the human sensorial system,
Lighting
lighting narrow theatrical linear lighting point light establishing a direct reference point between the two the more impact the space leaves in people’s memory.
Methods
skylights downlights spotlights low level sources lighting conditions. However, on the examples analysed
pendants ambient light above, darkness can be expressed as an ambient veil of Nevertheless, a result worth registering is that haptic
low light levels where shadows are diffused, spreading and audio stimuli are merely the ones to arise where
Shadow
deÞned deÞned sharp diffused sharp imperceptibly across the interior space. limited visual capability applies. Touch and sound
Quality
stimuli are aliated to a whole new perspective o
Contrast varies medium high low high Materials and suraces prove to have a denite role, spatial experience, focusing on primitive intimacy and
infuencing considerably the relation between light embodied experience that come as a result of sensing
smell and shadow. All case studies result to have utilised the space holistically.
Hierarchy of touch
sound sound vision materiality to stimulate sensorial awareness. It is
Senses vision vision
vision touch touch important to note that altering the material palette of any Time proves to be of low importance in most case
Involved smell
vision of the analysed environments, while maintaining the studies. However, in the case of the Jewish museum
initial lighting methods, would have a substantial impact and the Thermal baths, time as well as daylight appear
Daylight of the user’s perception. In terms of sensorial richness, to infuence the user’s experience signicantly. Daylight
high high none none none
Contribution the case studies vary in the kind of sensorial stimuli they has been treated with fairness and subtlety, contradicting
twilight to trigger as well as the degree each sense contributes of its torrential tendency of vanishing darkness.
Time daytime any any any the nal experience.
evening
Above all, the analysis of the selected case studies
Importance As expected, vision could not be excluded as it sustains concludes that darkness is not followed by complete
high high high moderate high
of Materiality the initiative to experience a space. However, vision is emptiness and absence. Darkness carries information,
being used as a motivational force that triggers curiosity sensations, tangibility and dimensionality, enough
aiming to encourage exploration. Although vision qualities to justify the use of darkness as a design tool.
Fig. 78: Summary Chart of all case studies based on the criteria examined.

96 Case Studies: Review of Results Analysis 97

Selection of interviewees
An important part of the topic analysis lies on the
interviews conducted based on a semi-structured
outline of questions, which the interviewees were
called to elaborate upon. The procedure of selecting
the interviewees was implemented taking in account a
number of criteria.
First, the intention was to focus on personalities involved
actively in the lighting design industry, having a wealth
of experience and being cognisant of the evolvement of
the profession throughout the years. It was important
to keep the discussion of such a philosophical topic
to a realistic level correlated to the practicality of the
profession. Secondly, the interviewees would ideally
come from a wide spectrum of different disciplines,
representing versatile backgrounds, sourcing from the
body of the lighting design industry. This would hopefully
add particular interest on the compared outcomes at
the end of the process. Another parameter was the
geographic location as well as the cultural mentality
of the interviewees. Having focused on the western
approach towards darkness in lighting design, it was
reasonable to include personalities that would refect on
the topic, representing and being able to infuence the
western world philosophy. Investigating an alternative
future direction of the lighting design profession, it was
essential to incorporate suitable people that would
conrm, embrace, argue, reject or object the stated
hypothesis.
Lastly, it was my personal preference to be able to meet
the interviewees in person and enjoy the pleasure of
spending some time discussing thoughtfully in a relaxed
environment. Meeting the interviewees face to face
would give the interviewer a chance to turn a structured
interview to a elaborating informal dialogue. When this
was not possible, for instance in the case of Orlando
Marques, the use of technology allowed us to connect
through a Skype call.
98 Interviews
Formulating the interview questions
In order to fully exploit the participants time receiving
relevant answers that will aid the research process,
questions had to be formulated explicitly. The questions
should give freedom of interpretation to the interviewee,
avoiding biased phrases that would direct interviewees’s
reply.
Questions shall also taking in consideration a wide
range of viewpoints from which a topic is to be
examined from when objectively investigated. The
philosophical character o the topic by denition leaves
space or unexpected refections to emerge, making the
discussion slip into facts or opinionated juxtapositions
hardly foreseen or anticipated. Through the questions,
the interviewee was invited to share his insight and
enjoy the dialogue. In some interviews, the discussion’s
fux arose non-predetermined questions that led the
dialogue in unexplored grounds.
The interviewer (AG) initiated the process of each
interview by giving a brief introduction of the topic
and the context of the investigation. The selected
interviewees were informed in the beginning of the
interview process that the discussion would be recorded
to aid the thesis’s scope. Extended versions of all
collected audio recordings can be found transcribed to
text at the appendix.
For the analysis of the material gathered from the
interviews, it was decided to incorporate key ndings in
the main body of the research presented based on the
interview questions. In the following pages, interview
excerpts are juxtaposed comparing the interviewees’
insights on the topic. Although the sample of participants
is mainly composed by UK lighting experts, being able
to collect and compare opinionated personality views on
the investigated topic makes the process credible and
exploitable for further research investigations.
Fig. 79: Sample of Interview questions used as a base for discussion with the selected interviewees.
16.06.2015
University: KTH Royal Institute of Technology
Master program: Architectural Lighting Design & Health
Student: Alexia Gkika
Master Thesis: Introducing lower light levels and contrast to indulge multi-sensorial design
Analysis // Interviews
Questions for discussion:
1. How would you deÞne the relation between light and darkness? How do you think people outside the
lighting design industry relate to low light levels?
2. Which is the role of darkness in the design process in an architectural lighting project? Which qualities
would you say that allow darkness to be considered as design element?
3. Advanced technology has proÞted us with products that imitate nature. However, we often see designers
proposing lighting schemes of average high levels of light intensity and uniformity, contradicting natureÕs
rhythms. What is your opinion of this fact?
4. Which reasons have led us to establish numeric lighting regulations, discarding the range of capacity of
the human eye and the rest of the senses?
5. How does the interplay between light and shadow contribute to the capture of the sensory dimensions of
a place? What role our sense plays in human perception?
6. What does it take for a space to be memorable to the end user? Is curiosity and ambiguity motivation
forces that inßuence our spatial perception?
7. Would you say that there have been endeavours to reÞne the role of darkness in lighting design? Would
you be able to name such a project or a vivid memory of yours being sensually engaged with the
architectural space?
8. A recent campaign of an international lighting design association chose as its headline ÒAnother personÕs
dark space is our blank canvasÓ. Do you agree with the above statement?
9. Measured/ moderate darkness. Would you see the establishment of a new metric system similar to the
existing ones for other metric values being useful in the design process of an architectural project?
Analysis 99
 Summary of Interviews
In your opinion, where does the relation between
light and darkness stand?
Prior to opening any conversation on the role of
darkness in multi-sensorial design, it was essential to
urge participants to share their opinion on a simple yet
ambivalent question dening the relation that bonds
light and darkness. Answers did not come easily. All
interviewees seemed to have diculty on summarising
a principal answer as such in a few sentences. CL
rightfully reminded me that this question is “highly
dependent on context and subjectivity”, as people judge
considering various criteria and personal references.
A general outcome was that the two terms are very
much dependent upon one another. The nature of
relation though is described in a number of ways by
each interviewee, revealing his personal approach and
understanding of the matter.
Both CL and MG highlighted that light and darkness
are elements of natural bond, existing long before
human species; CL names this relation a “primordial
Abbreviations found in the text are as follows: link between light and darkness”. MG nds that
CL: Chris Lowe technological progress has affected humans both
MG: Michael Grubb positively and negatively. “We have become dictated
DA: David Atkinson by numbers, we have become robots. Engineering,
OM: Orlando Marques standards and design logic made people think that what
IR: Iain Ruxton they unconsciously choose is not right or proper. The
100 Summary of Interviews
more we forget our nature, the more we are dictated
by numbers.” Some degree of expertise seems to
dictate our lives today, as we have convinced ourselves
that each sector of our lives needs to be pervaded by
quantiable gures to prove validity.
Light and darkness is often referred as the extremities
of an illusionary scale. IR surprises me greatly when
bringing up in the discussion this false prevalent
impression on light and darkness. “There is a denite
strong bond connecting light and darkness together, as
the one could not be identied without the presence o
the other. It is nonetheless misleading to consider light
and darkness as the two ends of a scale. If we admit
there is what is so called total darkness, there is no way
to argue that total lightness exists too.” The above shall
be clearly asserted by OM, who illustrates the relation
between light and darkness as a “constant hide and
seek game, full of grey areas”. DA ocuses on the impact
of juxtaposing the two claiming that “lighting would be of
no importance without shadow and contrast. By creating
darkness and introducing shadows in a scheme, it
automatically gives a different texture to light.”
Analysis 101
Why do you think designers or general public are
sceptical towards darkness in lighting design
schemes?
Having evidently expressed unanimously the
importance of retaining alive this primitive link of light
and darkness as a proof of faith to our nature, the next
question seeks to investigate the reasons designers
show to be hesitant incorporating darkness to lighting
schemes. The responses showcasing that scepticism
towards darkness is indirectly encouraged by the
established lighting standards, which over the years
have led our built environments to be excessively lit
in order to satisfy their constant increasing tendency.
CL notes that whenever darkness is proposed as a
substantial element of the scheme, “designers have
to justify its appropriateness and validity against the
lighting guidelines widely known”.
Both clients and general public resort information to
established lighting standards, as “they are not trained
to understand the design intend behind a project”,
OM believes. MG claims the blame belongs to the
societies we live in and the mechanisms we utilise to
consider decisions credible and proper for the human
environment; “to gain trust in the modern world, you
need to be able to provide numeric proof. Experience of
light experts is important too; some of the reasons we
face scepticism towards darkness or other issues lays
on the basis that our industry is not really matured yet”.
Often, I fail not to wonder how we seem to have
neglected cornerstone values found deeply in our
existence. Once upon a time, landscapes used to be
washed in moonlight, starry skies used to be mind-
blowing and interiors full on contrast, low light levels,
sensorial richness and intimacy. Nowadays, DA thinks
that “people associate dark environments such as
public spaces with criminality”, to be supported by IR
who believes that “when sight is impaired, humans
feel insecure and consider themselves vulnerable to
102 Summary of Interviews
be attacked”. My discussion with these individuals on
scepticism appears to conclude that “people today feel
comfortable when surrounded by environments that are
potentially over-lit”, as DA mentioned. IR added that
“having light in our exterior environments during the
night is taken for granted, areas that lacking light are
perceived being neglected or threatening”.
Beore electric light, the circle o day dened
people’s activities. Natural darkness was a sign that
the day has come to an end and it is time to rest.
This is not to suggest that we should go back to the
past, but we should not forget where we come from
and we should embrace our nature.
Human species have evolved radically over the
centuries, improving their life and look for innovative
manners to bring ease to daily life. Going through
different periods of human history, humans have proved
to be adaptable beings, which enables them to survive
and embrace occurring circumstances. Today, parts
of the world have neglected human natural patterns,
expressing fear towards low level lighting and darkness;
lighting conditions embraced in the past. Cities and 21st
century’s living tempo seem to have built a microcosm,
where nature’s rhythms roll out only as a backdrop of
limited infuence. MG insists that “we need to remember
that we grew up with candle lights and a circadian
rhythm aligned with the course of the day and that’s
what we are tuned to do”.
Nature’s spectacles such as a starry sky or a soft and
elegant “moonlight coming through the window at night
is something never questioned, whereas today we have
turned ourselves to robots caring only about numbers”.
Admittedly, I found myself agreeing with DA when
saying “by extending the useful time of the day required
we raised the light levels surrounding us. Gradually,
spaces have resulted being excessively lit without a
good reason to justify this design decision.”
During a design meeting in scheme design stage,
clients are rst o all interested to meet the
respective standards. What is then the best way
to convince them that a number is not enough to
refect how a person perceives the environment?
Changing the way we consider light and darkness
outlines a long term goal. Design philosophies require
time allowance to be reviewed and reconsidered, as
people consider safe only what has been attempted or
implemented before. CL advises that “as designers we
need to show fexibility and use indirect ways to reach
our goal”. Innovative ways o thinking do not arise rom
repetitive methodologies. They can only be product of
day-dreaming of a different world surrounding us. MG
shares his persuasive strategy saying that “in fact, no
one likes to be patronised in a direct way. If you do it
gently, people tend to be very responsive to new ideas”.
Realistically, it all concludes to the moment when a
lighting designer bravely introduces darkness to the
scheme of a project in front of the client and other design
parties. Generally, people involved in project meetings
have little knowledge of lighting design’s principles. The
less understanding of light, the more reluctant parties
appear to trust faithfully and dare to go beyond modest
thoughts and ideas. The interviewer urged interviewees
to share the argument brought to the table to persuade
clients, other parties or general public to invest on
lower light levels and moderate darkness having an
appreciable presence in the scheme.
The methods mentioned below are dependent on the
project’s approach, the application and the design brief.
MG nds himsel to agree with OM that every project is
individual and “to strengthen a design we need to have
strong justied arguments refecting back to the received
brief”. Some of them are long term methods that build
up on frequent collaboration; “a trustworthy relationship
between client and design team members”, as MG says.
Other methods can be very project oriented, such as
the “use of contextual or comparison studies of similar
applications”, suggested by CL. CL supports the idea o
taking the client on real-time site visits to give the client
the chance to feel the space. Similarly, DA believes
that “the strongest argument to convince a client and
other design parties is to conduct lighting trials during
the design process. Mocking up the effect of light and
shadow is incomparable to any photorealistic render or
lighting calculation.”
A safe way worth investing on by the majority of
participants is basically to educate our clients, design
team partners, the architects, and contribute to a gradual
change. As IR referred to “the common assessment in
the western world supporting that more is better shall
be questioned and juxtaposed by the rather minimalistic
eastern approach of less is more”. Similarly, C. Dutson
wonders ‘Why is there such a strong tendency to
consider brighter as better, when it is clear that extreme
brightness is not a pleasant experience?’’58
Nevertheless, we need to be aware that sometimes
circumstances may not favour darkness. Designers
have little luck defending low light levels and high
contrast values when it concerns energy certicates,
such as LEED and BREEAM, where strict rules apply.
IR brings some hope through reporting that is rather
amusing invoking occasionally energy standards in the
favour of a proposed lighting scheme that uses darkness
as a design element. For example, MG shares that “an
argument used in favour of darkness is the resulted
lower maintenance and running costs.”
Analysis 103
It is quite important to have some lighting guidance to
avoid chaotic deliberately designed environments.
What should it be our position towards lighting
guidelines?
It would be wise to note that lighting guidelines
should be approached not as a restriction but as an
assurance of getting “a minimum level of design safety.
Guidelines are to be used as a good starting point
without limiting a designer’s creativity”, as MG said
during his interview. Guidelines compliance should be
only one end of the design process and not the driving
force. A designer,who is knowledgeable on how light
and darkness behave, should be given the freedom to
envision without numerical restraints. Overall, providing
pleasant experiences, sourced from the architectural
environment would establish a binding relation between
user and architecture, while leaving clients condent
that they can rely on lighting experts. OM adds that
“design guidelines are nothing more than guidelines and
recommendations, they are not established laws. They
are indeed to be taken in consideration but in general
we need to take design decisions having the user in the
centre of importance.”
However, we saw standards already being set
before even the profession evolved and matured.
Designers adopt the standards and use them as
a common language with the client, whose focus
is on meeting the respective lighting levels. Is it a
challenging task to talk away from numbers with
clients, trying to introduce how the eye sees and
how the body feels the space through light and
darkness?
Without a doubt, there is little general knowledge
about how light behaves and its impact on human
104 Summary of Interviews
perception. Architecture and lighting design are closely
interconnected to the point where sometimes clients do
not realise the necessity of having a lighting designer in the
project. Considering the youth of our profession, clients
oten nd it dicult to think unconventionally. A numerical
conrmation o the light levels certainly creates the rst
step of building a trustworthy professional relationship.
Should that be the way though? MG claims that “starting
the design process with the lighting standards is mind
can limit a designer’s creativity.” Oten when receiving
a client’s brief, including perhaps minimum illuminance
levels, instantly designers start thinking how to meet
the project’s requirements. Somehow, it feels right to
reverse this process. A lighting designer is appointed
and expected to deliver a scheme that could not be
developed by engineers.
Lighting design encourages an entirely different
approach; it aims to please human senses, emerge
eelings, invite people to refect upon the space. OM
admits that “as a designer, I always work on the basis
of what I wish people to see and understand from a
project.” It is hard to visualise a numerical gure. Spatial
perception is formed by space, colour, lighting qualities,
contrast, patterns, effects etc.; values of sensitive
intellectual quality compared to the rigid information
included currently in lighting guidelines.
“Designers must stop being contractual or feeling
inadequate when not complying with the standards. Our
lighting knowledge should be used to defend design
decisions which raise against the lighting guidelines,
if that is the right for the space.” As a actual proo
of his sayings, MG gladly shared part of a project
presentation, in which an entire spread was lled only
by two provoking words; Embrace Darkness. It is a clear
statement and a way to convey condence that this was
the appropriate philosophy for the project concerned.
Fig. 80: Use o shadow and contrast in heritage - Notre Dame, Paris
Would you think that by lowering light levels in an
interior space we could achieve engaging the rest
of our senses to be part of our spatial perception?
In today’s world, human actions and responses are
overdriven by visual stimulation. Our visual eld is
lled with light stimuli competing each other in intensity,
brightness and shrillness. Hence, I was interested to
record the insight of each of the interviewees on the
hypothesis that by lowering the light levels, we could
capture the sensory qualities of the space. Both CL
and OΜ chose to express their opinion on the matter
by referring to architectural examples, where the above
principle has been applied.
In Chris’s opinion, “low light levels create intimate and
human environments. For instance, heritage projects
are most of the times architecturally more complex than
modern architecture”. Their ornamented suraces ask
for contrast and sharp shadows in order to accentuate
their reveal. “Darkness creates a meditative state in
which people feel more spiritual, peaceful, relaxed
or even open”. Light and darkness are used to hide
and reveal details, render textures, intensify the
architectural elements. “Sometimes, layers of opacity
encourage users to move within the space and explore
it”, while increasing the sense o depth. “Understanding
of a space requires time. Equally, time evolves bonds
Fig. 81: Darkness as a background, The Fat Duck restaurant, Melbourne
between architecture and human sensory system.”
OM outlines the design intend of the Fat Duck
restaurant, Australia designed by ElectroLight. “The
owner’s aim was to take all diners in a multi-sensorial
journey, triggering all senses to collaborate and
contribute to the experience. A fundamental contribution
to the perception of the space played the decision to
paint all interior surfaces black and use narrow beam
ttings, wisely ocused to bring areas o interest in the
foreground”. Taste is meant to be the protagonist o
the whole experience. To achieve that, visual capacity
had to be restricted, allowing the other sensorial stimuli
to engage with the guests. “Taking in account that the
visual organ responds 10 times faster than any other
sensorial organ”, it is no wonder that low light levels and
suitable materiality were used to emerge taste in the
front line.
Another example worth mentioning concerns a
wine experiment where PhD student of University of
Bordeaux, Frederic Brochet, succeeded to prove that
taste and odour stimuli are strongly related to the visual
messages our eyes convey to the brain.59 He used a
white wine in two glasses adding red coloured ink to
turn the white wine in one glass to red. Subjects biased
by the visual difference in colour, referred to the wine
in the two glasses expressing different characteristics.
Analysis 105
Darkness has a wealth of faces. It can be sharp
contrast, diused pattern on the foor, ambient
lower levels etc. Sometimes, when attempting to
categorise and contextualise darkness in order
to use it as a design element, it is hard to dene
where the borderline lies. What do you think? - In
what ways have you applied darkness in a lighting
design scheme?
As mentioned in the ‘Background’ chapter, darkness
and the perception of it, is a lot about reference points,
ratios and contrast. This question seeks to derive
information on the ways the interviewees have been
using darkness throughout their careers. For CL,
“darkness is a relative condition dependent on the
space and the user’s perception. The language we
use as designers to strengthen darkness’s validity is
important.” Dutson analyses in her book ‘Light Volumes,
Dark Matters’ the way we have interlinked the linguistic
phrases and words we use to respective connotations
for light and darkness.60 For instance, when referring to
a dark space, using words as ‘murky’ or ‘gloomy’ may
predispose people negatively. Instead, incorporating
words as ‘dramatic’, ‘sensual richness’ and ‘hierarchical
order’ implies a positive attitude towards darkness. As
CL further explains, based on basic principles of the
human visual system, “the human eye is trained to focus
on the brightest point o the visual eld, thereore high
contrast is a typical way to communicate that something
is unique or worth putting attention on. Sharp contrast
creates drama, but it has to be just enough in order to
serve the purpose.”
OM has found himself using darkness to bring the
106 Summary of Interviews
textural qualities of the architecture in the foreground;
as he says “the lesser the light the more the effect -
darkness resembles a brush that adds drama and
tonal variance to the architecture and its composing
materials”. Darkness can be expressed locally or
globally. A good example of local darkness could be
projected shadow patterns or ‘dappled effect’, as OM
names it, either using daylight or articial light. On the
contrary, global darkness would refer to ambient low
light levels with moments of high intensity of light.
IR shares hints of his vast experience on aviation
projects, confessing that he has “often proposed lighting
methods less informal and enriched by contrast to
encourage socialising and convert a dull transition area
to a more attractive and comfortable environment for
the user. Contrast can establish hierarchy of the user’s
visual eld, especially in large scale complex projects,
as an airport can be”. Overall, darkness, shadows and
gradients constitute only a few characters showcasing
how versatile darkness can be in an architectural
environment.
There might be no space for darkness in some
applications, however after a series of case studies
I analysed I can certainly tell that darkness nds
application in a variety of contexts. What is your
opinion on that?
It is dicult to contextualise the use o darkness. It is
widely believed that darkness appears as a paradox in
applications where functionality and visual acuity are
vital. CL claims that “darkness could nd application
even in unexpected spaces such as a hospital.
Designers should lead the way towards the undone,
proposing new environments for people to experience.
Designers should dare through their designs”. There is
no point resting assured reproducing existing designs.
There is a need to explore undiscovered paths and be
as infuential as possible or the sake o our proession’s
future. MG believes that “we honestly should worry
where this world is heading to; designers need to have
an active contribution of the development of the lighting
design industry.”
Talking by his experience, DA conrms that “some
projects call for an under-lighting treatment, presenting
themselves to the guest as inviting but not prominent.”
In an attempt to lter the chances o nding darkness as
essential design tool o a scheme, DA nds darkness
as “an element which seems to be used where people
have to see their inner self, consider and revaluate
principles in life”, conrming the idea o darkness
exhaling intellectuality and manifestation. IR completes
darkness’s psychogram, setting “darkness as the
ideal background in which people can introspect and
contemplate”.
IR’s point of view comes to surprise. He states a clear
framework on the character of darkness, saying that
“darkness is related to luxurious and sophisticated
environments”. His statement sought unconsciously
conrmation. Picturing luxurious interiors brought me to
realise how true his claim was. “Luxury, high value and
uniqueness call for darkness, whereas budget projects
rely on high light levels and uniformity for a crisp result.”
Do you think that over the years there have been
endeavours to redene the relation between light
and darkness? Is darkness becoming a regular part
of a lighting scheme?
Refecting the strong bond between light and darkness
through thoughtful architectural lighting schemes could
gradually revive human natural rhythms, showing
appreciation to our roots. More and more studies over
the years have risen the matter of being overly stimulated
by light, declaring that totality can be harmful to human
psychological health both for light and darkness.61
Interview subjects’ extensive presence in the lighting
industry enabled them to share their views on the
changes observed throughout their careers regarding
the importance, value and position of darkness as a
design element in architectural lighting design. CL
acknowledges that “there is a growing awareness
indicated lately, even in some lighting guidelines. That
means that designers have more freedom to design.”
One can now nd more detailed recommended
parameters, departing from the old-fashioned average
values that cared only for the general use of the space,
ignoring urther task/ use segmentation.
OM notes that there have been plenty remarkable
projects coming to reality, on which darkness plays
a key role. As he says, “introducing darkness and
shadow is all about seeing and recognising their
value. Fortunately, people seem to appreciate such
endeavours. As designers, bare in mind that it is crucial
to nd a moral way to present shadow and contrast in
the right context”.
Analysis 107
Could you name a project or a vivid memory of yours
where darkness is a very strong part of the scheme Iain Ruxton
or all your senses played an important role? “A recent strong sensorial experience I had in one of
my regular visits to Scotland, took place in Edinburgh’s
Asking the participants to name a project that darkness summer festival. A portable round theatre set offered
delivers a sensually engaging environment, I was limited space but large experiences, full of music. The
hoping to be able to refect upon their choices and proximity between stage and seats created a mystic
compare them to derive useful conclusions. Besides atmosphere, encouraging familiarity and comfort
the above, their choice would hopefully convey their amongst the attendees and the musicians.”
personal design philosophy.

Chris Lowe
“By being a part of a large multi- disciplinary company, I
can’t help thinking that I would gladly do more projects
where darkness is the protagonist of the scheme. A
project in progress I truly eel that its scheme refects
much of my personal design beliefs when it comes to
darkness, is the Manchester Cathedral. It delivers an
overwhelming spiritual tranquillity that allows visitors to
submerge to primary sensual instincts.”
Fig. 82: Manchester Cathedral visual, BDP Lighting
Orlando Marques
“I believe a good example of darkness being used to
pay respects to human senses is the Nagasaki National
Peace Memorial Hall, Kyoto State Guest House designed
by LPA. I would characterise it as a very balanced
example of light, shadow and materiality. Its regional
stillness and serenity is disturbed by the intervention
of sharp contrasts creating a very emotional space. It
worth noting that it is certainly not the quantity of light
that makes a space stand out, but its elegant balance.”
Fig. 84: Nagasaki National Peace Memorial Hall, Kyoto, LPA

Michael Grubb
“Although being actively involved in all design stages David Atkinson
up to completion, seeing the Guinness Tasting “Having recently completed the UAE pavilion in Milan
Rooms installed and rened was a moment I ound for the World Expo 2015, I am tempted to favour my
myself sensually and emotionally touched. Senses project for its immersive qualities. The bold result relies
and perception played mind games by isolating and very much on bringing texture in the foreground, in
imaginably dividing the human sensorial system. As which contrast and shadow had a catalytic role. Our
I was walking towards the focal area of interest, the purpose was to create a sensual experience of which
tunnel became darker and darker, washing away all the visitors are part of. The visitors of the auditorium
the senses in order someone to encounter the tasting were lit in conjunction with the lm, as an eort to oer
rooms puried. A totally mind-blowing experience.” a ull embodied experience.”
Fig. 83: Guinness Storehouse, Michael Grubb Studio Fig. 85: UAE World Expo Pavilion, Milan, DALD

108 Summary of Interviews Analysis 109

Materiality is indeed o signicant importance.
During my investigation, I realised that materials
play a critical role to the end result and to the
methods a lighting designer will choose to utilise
on each case. Have you found materiality playing an
important role in the projects you have worked on?
As light and darkness are interrelated, the same relation
characterises architecture and materiality. The same
building shell can be perceived a lot different just by
altering its material palette. MG forms the essence of
materiality in one sentence, saying that “light is nothing
without architecture”. Similarly, a lighting design scheme
is developed tailored to the given materiality and
architectural features. The above sounds like a sensible
statement; in real-time projects though, does materiality
affect the lighting decisions made?
“I think that materials are not as important as they should
be in the architectural process”, admits CL adding that
“the role of materiality depends largely on the type
and scale of architectural project”. IR contradicts CL’s
insight, as he confesses “unable to propose a lighting
method if not fully provided with essential information
such as materials”. It is indeed critical to be aware o the
surface materials as they can largely uplift or determine
the adequacy of a designer’s decisions. Transmissivity,
opacity, refectivity, roughness and colour are only a ew
parameters working hand in hand with light and shadow,
shaping users’ nal spatial experience.
110 Summary of Interviews
Fig. 86: The Cisterns under Copenhagen, Denmark. Installation by
Danish artist Ingvar Cronhammar, accompanied by the Danish musical
composer Martin Hall, 2015
Measured/ moderate darkness. Would you see
the establishment of a new metric system for
darkness being useful in the design process of an
architectural project?
Maybe the most critical question and core of the
interview comes at last. Introducing a new metric system
or interfering with established lighting principles is an
ambitious thought that could involve years of effort and
justication o the need or change. CL inorms me that
he has already invested on this idea to eventually nd
out that the new metric would not solve the problem.
He believes that “a luminance based system would
be more trustworthy than illuminance measurements
currently put forward. Certainly, relying on education
and expanding the rules is more important than
introducing a new metric system; a new metric would
still try to justify quality using quantitative means”. Such
a decision could result in causing more confusion than
benet the designers during the design process.
MG also sets himself on the same side admitting that “a
new metric is not what we need. It is a subjective world
we live in”, meaning that each o us uses his creativity
differently. “However, the reason we are not allowed to be
so subjective today is that we are under a lot of pressure
to save energy. Nowadays energy seems to be more
important than the user himself - unfortunately”; this is
a matter that we need to question. We need to keep a
balance between schemes that express environmental
consciousness while holding the end user in their core
of consideration.
On the contrary, DA nds the idea o a new metric
appealing, commenting as “useful to be able to
generate an analysis on contrast ratios.” The data
would aid to a more productive use of designers’ time.
Nevertheless, it is not to be ignored that “the results of
a computer software are some helpful data that under
no circumstance can replace the value of mocking up
thoughts and ideas in real time.”
OM chose to keep a rather neutral position on the matter,
proving that opinions vary largely depending on the point
of view one judges the necessity of our current metric
tools. “We currently use the same equipment to measure
light and darkness”. The outcome we get is numeral, as
there is “we have no means to measure qualitatively”.
Measuring adheres by denition a quantitative quality
to the element measured. Hence, another metric
would add value on the wrong side. It is essential to
consider qualitative considerations when designing and
perhaps a solid way to dene them and use them to our
advantage, treating them as credible as metric data are
in a project. Apart from the above, “obtaining full control
of the end result could vanish the designer’s satisfaction
of enjoying a project implemented in reality” (IR).
Analysis 111

Interviews: Review of Results
Direction to go
Having analysed collectively all interviews, provided me
the opportunity to draw some conclusions, noted as core
values. Each of the interviewees contributed indirectly
to shaping the following subchapter, comprised by true
advice and guidance to a young professional and to all
new generations of lighting designers coming up. The
following key points encompass conclusions related to
darkness intensied by general design principles that
outline a more general philosophy towards lighting
design. Each key principle is assigned also to one of
the case studies analysed above, counter-referencing
their design intent.
112 Interviews: Review of Results
Simplicity
A bold result hides in its core a simple yet impactful
interpretation of lighting principles. Light shall be used to
reveal the beauty of the architectural space. Darkness
shall reside to less important elements, bathing them in
obscurity to convey the narrative and set the atmospheric
mood of the space. There is no need for complicated
and loquacious lighting methods foe the architecture to
speak to people’s souls. A beautiful application of this
principle is refected in P. Zumthor’s Thermal Baths in
Vals, where simplicity and purity are eminent.
“We therefore need to simplify things and bring back
our natural roots. Our modern approach is slightly out
of focus to what we should be aiming for. A designer’s
aim should be to design more human spaces closer
to the environment that human bodies are designed
for. Technology advancement made light being more
accessible, however we as designers have the right to
be infuential towards a new design direction.” - Chris
Lowe
Memory
A cornerstone of the design intend of each project.
Through our designs we recount a story; a story to be
discovered, interpreted and recalled throughout life.
The Jewish museum in Berlin revives stark memories of
history through ground breaking architectural decisions
that leave architecture exposed to human emotion. The
use of light and darkness sets the psychological mood
of the space.
“By creating spaces that people feel comfortable to be
in we put the foundations of shaping memories. Gaining
the user’s trust is the rst step o leaving an imprint in
people’s mind.” - David Atkinson
Contrast
Setting a well dened border line between light and
shadow enhances the presence and the purpose of light
in the space. A sharp shadow obtains physical meaning,
away from the conventional viewpoint of darkness
referencing emptiness or absence of visual interest.
“Because darkness implies high ratios between light
and shade, the use of contrast is very much driven by
the scope of the project, as well as the user. I think
that darkness is related to luxurious and sophisticated
environments.” - Iain Ruxton
A denite application o sharp contrasts is incorporated
in the lighting design scheme of the Abercrombie &
Fitch retail stores, serving well its scope.
Human-oriented design
Being aware of our pure nature, our perceptional
capacities and our physical and intellectual needs. The
Futako Tamagawa Galleria takes into consideration
the human circadian rhythms translated to the control
of the light levels and scenes throughout the course of
the day.
“People got used to high intensity o light in public
spaces”, as a proo o state’s consideration and
care towards its citizens. It is vital to remind people
where we come rom and redene the sense o
social security. People’s expectations are only
based on the standards we set. Do we want our
cities and experiences to be soulless and sensually
impoverished? “We need to go back to a more human
experience of our environment.” - Michael Grubb
Dimensionality
Spatial perception relies signicantly on the depth o
visual eld and the layered experience a user gets
when wandering in a space. Designed darkness
underscores the dimensional aspect of a space.
Senses arise and vision becomes tactile as it is
required to focus to one element at the time. Similarly
to hands scrolling on a surface, vision through tonal
gradient and shadows acquires a new dimension. Julio
Le Parc and his light and darkness artworks prove how
depth perception can be saturated where darkness is
carefully applied.
Analysis 113
 discussion

Cover Image:
Pantheon, Rome, Italy

Fig. 87-89: Images of my team’s
installation for C2 Light and Space:
Outdoor in Nynashamn, 2012
116
It was a erce need or introspection and reevaluation o
the world I stand when taking the decision to dedicate
a 2-years dissertation on exploring the importance
of darkness and its multiple characters on human
sensorial perception. Having personally experienced a
radical change of attitude towards darkness since my
childhood, I was condent this study would assist me to
come to realise the reasons its presence in architectural
environments strikes me emotionally.
From one point of view, darkness is deliberating and
triggering. Darkness is to be blamed for some of the
most stunning architectural experiences I had lately,
such as the memorable art installation of Julio Le
Parc that redened my perception. Even my approach
towards the modules consisting the master programme
was infuenced by this captivating sentimentality
darkness induces. The sensorial richness of our team
installation at Nynäshamn during Module: Light and
Space - Outdoor, heavily relied on the moments of light
and darkness that allowed the visitors to enjoy the park,
feeling a sense of comfort and balance. Our intention
was to refer back to ‘homely’ elements that bring
memories visitors could relate to. The warmth of the light
effects employed contradicted the low temperatures
of late October. The smell of autumn, the sounds of
rustling trees and children laughing in the playground
compromised the little light used mainly to navigate and
attract families’ presence after dusk hours.
Forming a hypothesis that fuses a wealth of interrelating
notions and disciplines, both scientic and artistic, gives
vast possibilities on the search of relevant information.
However, the questions were raising, crowned by an
intellectual nature on the direction the human species
are heading. Investigating the legitimacy or the invalidity
of the framed hypothesis was an absolute necessity that
led me to seek for credible literature material, encounter
industry’s knowledgeable personalities to discuss
and attempt to analyse a set of case studies using a
qualitative approach. These actions constitute the main
body of this research project. As the thesis indirectly
questions the adequacy of today’s quantitative design
tools and criteria designating value to the end result, the
approach followed is governed by a qualitative nature.
The unique selection of scientists, designers and
subversive projects consolidates a comparison process
as a worthy endeavour to obtain the very essence of
several months dedicated and persistent work.
Having gone through this process now, it is time to go
back in the beginning where space was allocated to
dene principle terms o the essay to ollow. The terms
darkness and shadow were examined under different
scenarios or points of view to provide an elementary
base of interpretations. Yet, the thesis reveals the
diversity of the terms, exploring types or characteristics
of darkness. In ‘Back to Basics’, darkness and shadow
are silhouetted as a solid interpretation of low light level
conditions juxtaposed to light. In the ‘Analysis’ chapter,
the diversity of darkness’s characters and the various
opinions on the treatment it receives comes to add to
this rst impression. For instance, darkness has indeed
a regional nature when sharp contrasts between light
and shadow are observed. Such examples of existential
darkness and high rated contrasts are observed in the
Thermal Baths in Vals, where the architect intentionally
urges guests to experience darkness as an integral part
of their journey to mental balance and sensorial serenity.
Darkness could also have a much more discreet
character, the role of which is to set a limitation on
Discussion 117
the top end of the intensity and brightness of the light.
This type of darkness is less profound as it is generally
expressed through ambient low light levels with peaking
intensities on the areas of importance. A case study
refecting the above mentioned concept is the Futako
Tamagawa Galleria. Here the face of darkness is more
dicult to recognise, as uniormity maintains high
values, discarding the view of darkness as an condition
under which human vision is challenged. The light
levels are kept low, which respectively calls for less
intense quantity of light to be applied overall.
A third category is a type of darkness that works as an
ideal background for elements of space and importance
to come forward and possess the user’s attention.
Darkness is then used to simplify the user’s visual
eld, vanishing unnecessary parts o the visual eld
that would only add on the visual noise, weakening
the architectural experience. This is a type of darkness
encountered not only in architecture but also in other
categories of art. Rembrandt’s paintings featuring the
acclaimed technique of chiaroscuro represent probably
the epitome of the aforementioned type. Also, Julio Le
Parc’s light artworks and Matthew Penn’s hyper-realistic
paintings use background darkness as a principle
condition for his creations to employ the level of spiritual
and visual devotion required. Background darkness
creates then a manifestation under which it lets the user
see what is there to be seen and encourages him to
experience space holistically, allowing to senses other
than the “primary” one to be activated and add on the
nal impression. A play between light and darkness that
has as a purpose to reveal space in its true colours and
118
dimensions both for the eye and the brain. Designers
appear infuenced by their habit to be considerate on
uniormity levels orms an internal confict that orces
them to ll spaces with light. It is almost like even
distribution and bright light levels would uplift the value
of the experience. Concurrently, visual discomfort
and glare disturbances are both to be avoided unless
purposefully included in the design intent. Uniformity
levels play a crucial role on glare rating, as it originates
from ratios between light and darkness found in the
space.
Commonly, the general public believes that darkness
and shadow implies inability to visually obtain a clear
image of our cosmos. The uncertainty of this feeling
favours loss of the sense of security; a state that people
feel comfortable, protected from threatening hazards.
Instead of posing negatively towards the use of
darkness in architectural world considering dark spaces
as areas that have not been catered, the description
o the selected case studies projects a denite identity
given by the blend of different design principles for each
project with the utilisation of darkness, contrasts and
shadow being the only common denominator among
them. Eventually, people are invited to witness darkness
as a bonding invitation between architecture and human.
The thought of people becoming more receptive when
encountering their true nature through experiencing
holistically a space is supported by Chris Lowe who
aptly indicates that darkness allows to people to be
more open and true towards others or the environment
around them. This comes as a result of a trustworthy
relationship built between architecture and humans.
Being able to visually see a space can only provide an
ephemeral saety assurance along with a supercial
assessment, which sadly seems to be acceptable under
the pressure of time demand our days suffer from.
When darkness is engaged through shadows, patterns,
gradients etc., vision reserves no longer its position as
an essential presupposition for a trust relation to be
grounded. Having vision partially jostled on the side,
scratching beneath the veneer becomes easier. A deeper
bonding reaches the human bodily existence that faces
architecture as a layered sensorial experience that is
revealed successively in time. The cricking sounds in
the Tower of Holocaust in the Jewish Museum would not
be shivering if the tower was plunged in reassuring light.
Or the water song stemming from the natural springs
in Thermal Baths of Vals could have gone unnoticed if
the intuitive space formed by layers of darkness had not
forced human silence over nature’s song.
On some occasions, other senses such as smell or
sound could succeed the visual image of the space. In
such instances, the sensorial stimuli received by the
brain paints the visual world one is about to enter using
human imagination and personal references sourced
from past experience. Sensorial stimuli is powerful
enough to set the tone of the architectural experience,
promote hierarchy and heighten spatial dimensionality.
Fig. 90: Albero Installation by Alessandro Luppi, 2009
Discussion 119
In an effort to draw useful conclusions from the above
research process, the two questions analysed below
provide combined and cross referenced facts that
enable to form a realistic approach towards darkness.
Above all, the research conducted aims to be useful
in everyday practice of the profession. Utterly, the
information collected will endorse the integration of
darkness in the design process as a credible design tool,
revealing its benecial contribution in various aspects.
How to integrate darkness in the design process of
an architectural project?
Finding a way to integrate darkness in the design
process relies on a designer’s attitude towards darkness
but also the decisions he deploys concerning light. As
the two terms share an elemental bond, designers are
invited to reconsider their approach towards light as
well. When talking about darkness, the terms we use
are borrowed by the vocabulary and terminology known
to describe light too. For example, when encountering
a pattern effect, light and darkness hold equally a place
behind the experienced result. Light and shadow create
a magnicent blend. A pattern eect can be diused or
unocused relating to the regional connement o light
and shadow within margins. Shadows are diffused, light
is ambient. The opposite would result in sharp shadow
and accent focused light. The adjectives used express
similarity in meaning entailing that evidently language
correlates the terms having an homonymous core.
Mastering light can solely be possible when having a
clear understanding on the direct spatial impact the
interdependence of light and darkness has along
120
with the consequences of their disproportional use in
interior space. It is therefore wise to develop a lighting
scheme considering both lighting impact and darkness
preservation from the beginning of the process.
Layering the two creates interesting lighting effects
and qualities, unique for each application. Ultimately,
light is used to enhance the content and purpose of
space. Using darkness as a palette of grey shades and
contrast, content is brought to the foreground, building a
strong hierarchy that directs the eye rather than leaving
it restless to the plethora of information.
An argument to sound as another cliché nowadays is
to use light responsibly. The phrase encloses multiple
aspects to which further explanation is granted. When
considering lighting design standards, be prepared to
question their suitability and appliance for the project
concerned. Chris Lowe gives a prevailing example of
the ambiguous interpretation of the stated values when
opposing himself to the idea of washing uninteresting
foor suraces with high levels o light. Abercrombie &
Fitch have gone to the edge of the above idea leaving
foors unlit and covered in dark nish materials to avoid
refecting scattered light. Attention has been given to
merchandise contrasting vertical surfaces to horizontal
ones. In retail applications, such a design decision
benets the products on display. It is essential though
to show respect to user’s visual adaptation system,
which has a rm impact on the emotional association
a user makes with space. Highlighting vertical surfaces
is a technique found in the public commercial Futako
Tamagawa Galleria to serve a different context to
Abercrombie stores. Where energy preservation
is vital, illuminating the horizontal plane becomes
unreasonable. In the case of the Galleria, designers
turned their attention to illuminating the vertical planes,
exploiting the notion of the human eye reading the
space based on its vertical surfaces using luminance
assessments. The above was also brought forward
when investigating contrasting examples of lighting
applications that comply or negate the relevant lighting
design standards. Some of the examples found to
obey the light levels and uniformity thresholds. On the
other side, examples indicated that foor coverage can
let without any light other that indirect refections or
scattered light originating from surrounding luminaires.
Apart from its necessity when performing tasks, we use
light for other less practical reasons too. On top of the
list, for aesthetic purposes; light along with its designed
absence are being promoted to reveal architecture in
its best appearance, delineating a dened hierarchy or
the human perceptual process to pursue while offering
users a pleasant environment. As Michael Grubb and
David Atkinson clearly admit during their interviews, the
present approach to architectural darkness is rather
weak due to visual overstimulation by received nerve
impulses.
The transition towards a new way of thinking requires
an investing period during which darkness will claim its
position as a valuable design tool to enhance spatial
experience. Reintroducing darkness in lighting design
schemes could potentially generate various responses.
General public is expected to recognise the evident
differences with a little confusion, as the current
philosophy tends to act conversely to the preservation
of darkness. It is important to ensure a gradual change,
as people will initially stick to concepts that are known
and repeatedly tested. The aim is to make people
feel comfortable again when experiencing low light
levels. Employing individual experiences and personal
preferences to give reason to the experienced space
may be the rst ally on this long process. As mentioned
in the ‘Background’, when humans are confronted
with an image of reality, the brain proceeds to image
segmentation in order to decide which hemisphere is
more suitable to be engaged. Although this decision
appears to have little variance among subjects, personal
interpretations and memories of the subject could well
alter the perceptual value of a space.
The original view on the behaviour towards darkness
and its incorporation in the design process was that
nding arguments that could deend the existence o
a new metric. Justifying darkness would be enough to
itemise its importance as a design tool. Over the course
of my research, facts presented themselves to alter this
early expectation. A denite conclusion o this essay is
the evident need for quality over quantity. Introducing
another metric would only add an extra restrain on
designer’s creative free spirit.
Measuring light gives a certainty that soothes a
designer’s potential concerns on the adequacy of the
planned scheme. However, obtaining a full embodied
spatial experience relies merely on the emotional impact
of a space. This memorable trace of architecture to the
human soul is hardly foreseen and yet desired by every
design team. Its intangible nature makes measurements
appear insucient.
The literature material found and investigated on
darkness weakened my initial ambition on building
a solid argumentation favouring the necessity for a
Discussion 121

new metric. Opinions were divided on the concerning
question during the interviews. Professionals accepted
that performing calculations may be requisite in certain
applications, but designer’s shall not be limited to
envisage deliberated by recommendations, composed
to satisfy a wide range of possibilities. The ambivalent
sides showcased a dichotomy of the lighting industry on
the subject, yet sharing the aspect of proceeding further
educating not only designers to trust their schemes but
also clients, architects and other involving parties who
infuence the outcome o a project.
Do we need more darkness?
An interesting outcome from the interviews is the fact
that all selected designers interviewed had a moment
during our dialogue when they introduced a link between
darkness and energy consumption.
Initially, my interest in the sustainable side of using light
for architectural projects had little relevance with the topic
under investigation. On a second thought, designers’
persistent reference to the interrelation of darkness and
energy consumption raised a new perspective on my
personal destitution towards the need of more darkness
122
in today’s developing world. While the intents was to
focus on the intellectual need for more darkness as a
way to indulge spatial perception, practicality came on
the way to defend its portion on answering the question.
We use electricity to illuminate the space we inhabit and
circulate, however due to high demand, scientists have
raised awareness of the environmental issue humanity
comes to face year by year on energy sourcing.
Energy is now increasingly sourced from renewable
sources. However, designers and general public shall
be conscious of their actions. Lowering proportionally
the light levels, while using energy ecient light ttings
would succeed in providing the same light qualities and
effects in a dimmed state. As technology advances, its
products will potentially reach eciency values never
encountered before, a fact that will make preservation
of darkness even more sensitive. As energy demand will
descend, light supply will become more inexpensive.
Using the same energy to uniformly illuminate densely
utilised or task oriented areas, designers could instead
focus their attention on bolstering the experience
encouraging mental engagement between user and
space. On the contrary, one may argue that not all spaces
we circulate are ought to be emotionally and sensorially
When you start using senses you’ve neglected,
your reward is to see the world with
{ completely resh eyes.62
―Barbara Sher
thrilling. Our sensorial system would endure multiplied
information derived by all sensorial organs of the human
body. It is important not to neglect the fact that not all
senses become active in the same time and of equal
degree. Depending on the nature of the experience,
sensorial stimuli strengthens the architecture’s invitation
for a purposeful bond with the user.
It is when people begin to appreciate the environment
and the qualities it offers that architecture starts getting
the level of gratitude it deserves. In times of wonder
if more darkness is essential in our architectural
environments, do consider that totality of light or
darkness is never an aspiration. At the moment, our
environments stretch towards being overpopulated with
condensed visual information, plenty of which conveyed
by light. Reality presents itsel supercially, striving to
t in a visual rame as many inormation as possible.
Instead of gaining understanding of our surroundings
though, the complexity of the confronted reality leads to
confusion and inertness. Rushing too many information
through the brain to process, the visual cortex goes
under a selective ltration to pick the important stimuli
for further examination.
{
So, the consequences of visual overstimulation is to
miss a part of our environment. Being unable to focus
on details and appreciate the value and the hierarchy of
the scene, people familiarise with the tendency of not
noticing what is there to be seen. Therefore, it is more
than necessary to signify the contribution of darkness
as a method to leave way for other sensorial stimuli to
emerge other than visual information.
Time is and will ever be precious to one’s life. As daily
life often adsorbs all our energy, we need to learn to step
back and allow some time to appreciate the experience.
Time further allows to diverse sensorial stimuli received
from the architectural environment to be embraced.
Granting a multi-sensorial reality to ourselves will enrich
our lives and connect us with our inner self.
The above thesis on the subject of understanding and
employing darkness in the design process is in fact a
stance on the importance of sensorial stimuli aided by
darkness used as a design tool that grants architecture
to leave a long lasting multi-sensory memory.
Discussion 123
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All images are for inspiration and representation of discussed material only.
130
Figure & Image Credits
Abstract
Cover: https://www.tumblr.com/
Introduction
Cover: UVA, Momentum, The Curve Gallery , Barbican Centre, London, 2014 - http://hovercratdoggy.com/2014/03/19/we-spin-3/
Back to Basics
Cover: https://twitter.com/gwarlingo
Figure 1: https://en.wikipedia.org/wiki/Twilight#Civil_twilight
Figure 2: http://www.olivecharleston.com/blog/category/nerdy-things
https://www.fickr.com/photos/csaulit/6011045460
http://www.wunderground.com/wximage/polymorph/167
Figure 3: http://www.sketchwiki.com/shading/hal-way-to-black.php
Figure 4: Sketch by Alexia Gkika, Stockholm, 2013
1. Figure 5: http://www.crathubs.com/browse?tip=ull-moon
Figure 6: Photo courtesy of Kumi Yamashita
Figure 7: http://www.dreamstime.com/photos-images/ancient-sun-clock.html
Figure 8: http://wholedude.com/tag/jean-senebier/
Figure 9: https://share1.wikispaces.com/15A_Nerves
Figure 10: http://www.soundandvision.com/content/eye-color-physics-physiology-page-2#WFTziIxxBC2JwVMb.97
Figure 11: Photo courtesy of Alexia Gkika
Figure 12: Photo courtesy of Alexia Gkika
Figure 13: http://www.conceptart.org/orums/showthread.php/228156-How-does-light-rom-Stain-Glass-all
Figure 14: http://www.placestoseeinyourlietime.com/scorpios-mykonos-rustic-luxury-on-the-divine-island-in-greece-18507/
2. Figurge 15: http://www.cundall.com/Projects/National-Grid-Car-Park.aspx
Figure 16: Photo courtesy of Studio MK27 – Marcio Kogan
Figure 17: Photo credit to Samonds Photography
Background
Cover: https://www.fickr.com/photos/jonheel/6928849854
Figure 18: http://matthewpenn.com/art/scar/
Figure 19: Photo courtesy of Artec3
Figure 20: http://www.picturecorrect.com/tips/rembrandt-lighting-in-photography
Figure 21: http://www.artnews.com/2013/09/04/assessing-james-turrell/
Figure 22: http://www.thedareart.org/2012/01/woman-taken-in-adultery-oil-on-oak-by.html
Figure 23: http://chasamaxcolors.blogspot.co.uk/
Figure 24: https://en.wikipedia.org/wiki/Theory_o_Colours
Figure 25: https://daphnesensei.wordpress.com/2014/10/27/in-praise-o-shadows-an-essay/Figure 26: http://www.archdaily.
Bibliography 131
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Figure 27: Photo courtesy of 25Hours Figure 64: http://www.cls-led.com/applications/shops-retail/shel-display/?lang=r
Figure 28: http://workplace-partner.com/ Figure 65: http://www.selldor.com/projects/abercrombie-tch
Figure 29: Photo courtesy of Michael Grubb Studio Figure 66: http://www.cindiemindie.com/2013/08/27/abercrombie-tch-denim-invasion/
Figure 30: Photo courtesy of Alexia Gkika Figure 67: http://www.illumni.co/iald-excellence-award-winner-2012-utako-tamagawa-rise-by-lightdesign-inc/
Figure 31: Photo courtesy of Elektra Lighting Figure 68-70: Image courtesy of Toshio Kaneko & Akane Kuroda
Figure 32: http://www.illumni.co/the-at-duck-by-electrolight/ Figure 71: http://archrecord.construction.com/projects/lighting/2012/08/utakotamagawa-rise-galleria.asp?specs=true
Figure 33: http://www.dexigner.com/news/20470 Figure 72: http://www.doonesilver.com/portolio-project/utako-tamagawa-tokyo/
Figure 34: http://ua-oce.co.jp/ Figure 73: http://www.bildmuseet.umu.se/sv/utstaellning/julio-le-parc/19128Figure 74-77: http://www.julioleparc.org/
Figure 35: http://www.zimbio.com/pictures/4KOU_0kVR6X lumi%C3%A8res.html
Figure 36: http://www.enlightermagazine.com/projects/lumen-awards-2009-elizabeth-arden Figure 78: Case Studies Summary Chart composed on Mac OS Numbers by Alexia Gkika, 2015
Figure 37: http://www.archdaily.com/565201/snd-ashion-store-3gatti Figure 79: Sample of Interview Questions composed on Mac OS Pages by Alexia Gkika, 2015
Figure 38: http://www.archdaily.com/7787/duras-ambient-unabashi-sinato Figure 80: http://www.illumni.co/philips-lights-notre-dame-never-seen/
Figure 39: http://de.academic.ru/dic.ns/dewiki/367034 Figure 81: Photo courtesy of Electro Light
Figure 40: http://neodamuebles.blogspot.co.uk/2014_01_01_archive.html Figure 82: Visual courtesy of BDP Lighting, Manchester
Figure 41: http://tlmagazine.co.uk/2015/07/design-o-luxury-vietnamese-hotel-eatures-over-450-spotlights-rom-precision-lighting/ Figure 83: Photo courtesy of Mike Massaro & Michael Grubb Studio
Figure 42: http://www.wallpaper.com/travel/the-london-edition-ian-schragers-capital-comeback Figure 84: http://www.snipview.com/q/Akira_Kuryu
Figure 43: https://www.pinterest.com/pin/135530270011993448/ Figure 85: Photo courtesy of David Atkinson Lighting Design
Figure 44: Photo courtesy of Lighting Design International Figure 86: http://imgur.com/gallery/ueYlxla

Analysis Discussion
Cover: Transcend - http://www.julioleparc.org/ Cover: https://lilycooper.wordpress.com/2013/02/
Figure 45: https://pixelmaedchen.wordpress.com/2013/06/03/jewish-museum-berlin-5-memory-void/ Figure 87-89: Photos courtesy of Bettina Kahdemann, 2012
Figure 46: http://photo.net/photodb/photo?photo_id=5575796 Figure 90: Photo courtesy of Alessandro Lupi
Figure 47: http://www.inexhibit.com/case-studies/daniel-libeskind-jewish-museum-berlin/
Figure 48: http://andberlin.com/2013/04/22/judisches-museum-berlin-jewish-museum-berlin/ Appendices
Figure 49: http://historyandmemory.pbworks.com/w/page/18463849/Museums%20and%20the%20Holocaust Cover: https://www.pinterest.com/pin/156359418283973239/
Figure 50: http://www.jmberlin.de/blog-en/2012/11/a-visit-rom-iran/ Chris Lowe’s photo: http://www.bdp.com/en/services/lighting/
Figure 51: http://www.snipview.com/q/Jewish%20Museum,%20Berlin Figure 91: Visual courtesy of BDP Lighting, Manchester
Figure 52: http://www.e-architect.co.uk/berlin/jewish-museum-photos Figure 92: https://www.iald.org/About/About-Lighting-Design/Importance-o-Using-a-Lighting-Designer
Figure 53: http://architizer.com/eed/q/q:drawing/js:nohero/ Michael Grubb’s photo: Photo courtesy of Mike Massaro
Figure 54: Photo courtesy of Hélène Binet Figure 93-95: Photos courtesy of Mike Massaro & Michael Grubb Studio
Figure 55: http://www.vwmin.org/terme-vals.html Figure 96-98: Photos courtesy of James Newton & Michael Grubb Studio
Figure 56 (both pages): https://www.fickr.com/photos/jutok/sets/72157635396122127/ David Atkinson’s photo: http://www.vam.ac.uk/blog/sketch-product/designing-postmodernism-part-4-lighting-and-av
Figure 57: http://en-tres-lineas.blogspot.co.uk/2013/12/p-zumthor.html Figure 99-101: Photos courtesy o Nick Wood/BigFeatures/FQC media/Clay Interactive Ltd & DALD
Figure 58: http://www.presseportal.ch/r/pm/100018937/100596580 Orlando Marques’s photo: https://www.linkedin.com/in/orlandomarques/pt
Figure 59: https://www.fickr.com/photos/cmyk100dpi/5094445673 Figure 102-104: Photos courtesy of Electro Light
Figure 60: http://www.selldor.com/projects/abercrombie-tch Figure 105: http://issuu.com/lucia.moretti/docs/l___architettura_della_memoria_coll
Figure 61: http://www.skyscrapercity.com/showthread.php?t=1539152 Figure 106: http://australianriend.org/a2655
Figure 62: http://www.amberleeisabella.com/expertise/ Iain Ruxton’s photo: http://www.pld-c.com/iain-ruxtonuk/

132 Bibliography 133

CL: I think this is merely due to people’s tendency to
measure and quantify things in life. And it can be a little
frustrating to see human’s life be covered by numbers
neglecting emotions, feelings and aesthetics. Sight
has an immediate character that ts very much into
nowadays rhythm of life. A lot of the data that comes
through our eyes is targeted towards our vision; the
way humans think about space and life, everything is
visual and hence it has to have a good visual image
associated. It doesn’t really matter if the quality or
content is signicant, as long as it looks good.
AG: Would you say that by lowering light levels in an
interior space we could achieve engaging the rest
of our senses to be part of our spatial perception?
CL: I believe so because by now we are overly visually
stimulated. We have screens and visual data coming
all around us. A screen is everywhere in the shape of
a mobile phone, a tablet, a computer, a television or a
sign. We look even on a screen right now when talking to
each other (note: interview took place through Skype).
Vision is a prime way of communication these days, as
a fast manner for information to be conceived.
Having moderate darkness in a room, it brings a lot
more peace, calmness and stillness. For instance, if you
go to a restaurant, you only need to focus of the food
and the person you dine with. The rest of information
will add on the visual noise, losing concentration from
the target points. A lighting designer needs to bring light
levels down and focus light to assist the activity the user
is taking part in. This way of treating spaces is hard to
quantify but at the same time it is sensible and primary. A
few weeks ago, when I visited a friend in the countryside,
we spent hours in his back yard until the night came and
we lit up a small re. We were quite hypnotised by the
fames and the surrounding darkness; a eeling that one
140 Chris Lowe: Interview Transcripts
rarely gets when experiencing an architectural space.
It is not only the light levels, but also the placement of
the light sources. During the day, we have the sun and
the sky above head height. Over the course of the day,
the sun moves towards the horizon and after twilight
the light sources come rom the foor because typically
re and candles were the only available light sources.
It is quite a natural feeling to bring light levels and light
sources down during the night. There is something
missing from the way we design spaces now, as they
don’t seem to have this natural instinct. It is interesting
to keep in mind where we come from, when trying to
transform architectural spaces in more intimate and
human environments.
AG: Taking about natural instincts, it brings me to
wonder how people became so dependent from
high levels of light, since our heritage is exactly
what you described before; people gathering and
socialising during the night around the re?
CL: I completely agree with you. The light levels
increased over the years, as light became more
accessible, so what was acceptable in 1930 would
now be unacceptable. So, the question is, how much
further to we want to go? With the technology known
so far, energy becomes cheaper and the available light
sources more ecient. As designers, we should hope
that we can infuence the norms to the right direction.
AG: Do you think that over the years you are
engaged we this eld there have been endeavours
to redene the relation between light and darkness?
Is darkness a regular part of a lighting scheme?
CL: There is a growing awareness. Even on the latest
BS 2007 12464, they focus more on the task lighting,
discarding the idea of providing a certain light level in
the whole space but only where it is needed. Then, using
different measures of that round illuminance to drop off.
All these did, was to give designers a bit more freedom
to decide how to satisfy the recommendations, while
creating a diverse space. This is a relative tiny change
but in the long run it is heading in the right direction. The
last thing I was to see is architectural spaces looking fat
and dull, lit uniformly all across their span.
AG: Could you name a project or a vivid memory
of yours where darkness is a very strong part of
the scheme or all your senses played an important
role?
CL: I am still working on it. Generally, trying to use more
contrast to build up hierarchy of light and how light
hits the eld objects or elements o architecture in the
space. There are objects that worth being lit and others
Fig. 91: Visual of Manchester Cathedral
Project currently under construction,
BDP Lighting, Manchester
that they contribute more by being in darkness. For
instance, or me a lot o the time, the open foor does
not need to be lit at all, as it isn’t something I would like
users to focus their attention on. What is the purpose
o having 300 lux or even 100 lux on the foor level o a
space when in case of emergency 1 lux is enough light
to lead the people safely out of the building. You simply
don’t need that level of illumination.
It is dicult to get people back on track when it comes
to darkness. I am not going to say I have done a lot of
projects with the amount of darkness they deserved, I
denitely want to do more. One project we are working
on at the moment and it has great potential to be
a strong project favouring darkness is Manchester
Cathedral. Partly because of the history of the space,
we have freedom to explore even the theatrical side of
the cathedral.
Appendices 141

AG: How would you explain the fact that a lot
of heritage projects seem to attract this kind of
approach in lighting design?
CL: Generally, that’s mainly because the actual
architecture is more interesting. A heritage project is
architecturally more complex than a modern white
box. I am obviously making a generic comment but
a lot of modern architecture isn’t as interesting as a
historic project; it hasn’t got the elements, the detail or
the workmanship. The cathedral is going to be treated
completely as a theatrical space, leaving darkness to
work on its avour. All xtures will be ully dimmable,
providing the fexibility o creating any kind o scene
required depending upon the use of the space. The
cathedral is naturally a very dark space due to the
architectural and the materiality and we want to maintain
this atmosphere. Referencing back to the biblical relation
of light and darkness, people used to pray in darkness
or people would nd God in the darkness. God being
light is very much a Christian idea, whereas our religion
is using darkness to reveal God. When you lower light
levels, one creates a meditative state in which people
feel more spiritual, peaceful, relaxed or even open.
AG: A recent campaign of IALD chose as its headline
“Another person’s dark space is our blank canvas.’’
Do you agree with this statement?
CL: I think I had mixed feelings when I saw this
campaign. It is a very simplistic way of looking lighting
design which was obviously intentional. For me the rst
question to ask is “Is there anything in that space worth
142 Chris Lowe: Interview Transcripts
Fig. 92: IALD campaign
lighting?” Light and darkness should have a purpose. As
lighting designers, we need to think what doesn’t need
to be lit as well as what has to be lit. Hierarchy and
design purpose are the keys to success for a lighting
design scheme. More light isn’t necessarily better light.
AG: Darkness has a wealth of faces. It can be sharp
contrast, diused pattern on the foor, ambient
lower levels etc. Sometimes, when attempting to
categorise and contextualise darkness in order to
use it as a design element, it is hard to dene where
the borderlines lay. What do you think?
CL: Darkness is a relative condition; relative to the
lightness of the immediate space next to it. Ones
person’s darkness or lightness could be completely
different depending on where they come from or what
context the are in. Contrast is interesting because
it is irrelative lightness and darkness within a space
and therefore sometimes it is more hopeful to focus
on contrast rather than relative darkness or lightness
because essentially contrast is the marriage of light and
darkness. The higher the contrast the more pure degree
of these extremities we observe. A lot of the times what
matters is how you refer to darkness. Using the terms
contrast, visual interest, shades is less likely to scare
people off, whereas talking about a dark space may
emerge sceptical feelings on people for the reasons we
mentioned before.
AG: Today’s world focuses on vision and speech
as prime methods to communicate. Getting a real
feel of the space comes as a result of exploring.
People driven by a raised curiosity that forces them
to wander and discover the purpose of the space
and the story behind the design intend. Could the
lighting methods used infuence people to capture
the sensory qualities of the space?
CL: You can use light and darkness to hide and reveal as
we discussed before. Opacity is also an interesting way
that links to the materiality of the space. Architecture
that has different layers of opacity. Taking as a example
Arabic architecture, due to the ambient temperatures
of the exterior environment, buildings appear to have
dierent layers o acade that lter away the heat,
shaping a microclimate within the building. The building
reveals itself as the person moves through the shading
layers. So, we should consider that a vertical space is
not only a solid wall or a transparent glass panel but
a wealth of semi-transparent layers of material that
could affect people’s spatial perception. Understanding
a space and being able to navigate in should require
time. Time evolves familiarity and underlines the bonds
between architecture and the human sensory system.
AG: Materiality is indeed o signicant importance.
During my investigation, I realised that materials
play a crucial role to the end result and to the
methods a lighting designer will choose to utilise
on each case. Have you found materiality playing
an important role in the projects you have worked on?
CL: To be honest, not as much as it should be. It largely
depends on the type of architecture you are working
on each project and it is denitely a eld I would like
to be more involved. The scale of commercial projects
we work, does not allow a lot of times to go in such
detail of knowing the material of each layer upon layer.
I personally think it is a shame because materiality is
strongly aligned with this topic of light and darkness, as
you found out during our thesis journey.
AG: There might be no space for darkness in some
applications, however after a series of case studies
I analysed I can certainly tell that darkness nds
application in a variety of contexts. What is your
opinion on that?
CL: Well, even in unexpected spaces such as a hospital,
which is very task-oriented, darkness or lower light
levels could create a separate environment. Maybe in
treatment rooms, maybe on relaxation areas, darkness
denitely could have a place where people could go sit,
relax and think freely, providing hence a not medical
space within the hospital. As I said before, although
hospitals are highly task oriented, washing the foor with
cold light would not assist on any task. Humans are in
vulnerable state and darkness could help them to relax
a little rather than feeling constantly under the stress
of a spotlight. We, as designers, should push more
towards the undone, not resting to things and spaces
that have been created before, we should propose new
environments for the people to experience.
AG: Measured/ moderate darkness. Would you
see the establishment of a new metric system for
darkness being useful in the design process of an
architectural project?
Appendices 143
my surroundings being pitch black, the glow from the
alarm clock was enough to allow me to walk along the
room and this was something we never questioned,
whereas today you wake up having a night light to help
us navigate.
AG: Why in your opinion people are so sceptical
towards darkness?
MG: I think it all comes down to trust. In the modern
world to gain trust, you need to be able to quantify
everything. You need to have a numeric proof of what you
proposing to keep discussions going. To some extend I
understand that this is what it takes to tick the boxes.
Clients, architects, public councils etc. will not stay on
a subjective oral conrmation o me saying “lighting
will look the way it should”. Also, it all depends on the
experience of the person who overtakes the challenge
to convince other parties. The more knowledge,
educational and empirical one has, the easier it gets to
defend a position against certain legislations. The reality
is that a lot of people in the industry are not experienced
enough so some of the reasons we face scepticism
towards darkness or other issues lies on the basis that
our industry is not really evolved.
AG: In that way, it is quite important to have some
lighting guidance to avoid chaotic deliberately
designed environments.
MG: That’s right! And i you ask me to write the
148 Michael Grubb: Interview Transcripts
guidance, I wouldn’t know where to start. I think one
of the great things a lighting designer really needs is
understanding of light, how it works, the philosophy
and science behind it and its impact on the surrounding
areas. This understanding leads the designer to make
decisions but then the rules instantly create a minimum
level of design safety. Therefore, as much I am critical of
legislations, government compliances and bureaucratic
tick-boxing, I do understand the reason of its existence.
The rst thing I say to clients is that these are guidelines
to be used as a good starting point when people know
little on the topic. If one has in depth knowledge of
how light and darkness work then guidelines could be
ignored. It is really all about trust between designers
and clients. There are instances where we propose 0
lux in a controlled area fully aware that engineers will
attack by saying that a minimum of 50 lux is required.
But then you are really missing the point, because you
judging the space by numbers, not by experience. None
will be harmed if in 5sq.m space you have 0 lux, when
the neighbouring foor area receives 300lux.
AG: Building up the argument to convince people to
think out of the box must be a challenging process,
if not frustrating sometimes.
MG: I should tell you a story behind the scenes of one
of the projects we have completed. We designed the
entire corporate headquarters of a company with paper
lanterns! People thought we were crazy to propose
oce lighting using paper lanterns. During the design
brief though, the client informed us that they have a high
turn over of staff, because the working environment
is aesthetically unpleasing. Call centres are often
depressing. There isn’t a worst thing in the world to go
to your oce on Monday already looking orward or
Friday to come. It is proven that the working environment
affects massively the psychology and productivity of the
employees.
Living and working in paperless times, the employees
are not allowed to write on paper, all they have is a
computer screen which itsel emits light sucient to
light the keyboard. We then thought that we need to
provide a scheme of lower light levels than the ones
usually suitable or oce environments (300-500 lux).
We actually ended up with a scheme much less bright
than what the guidelines demand but it was a design
decision we felt it was right for that space. Conventional
lighting would have underlined the dullness of the space
where we aimed for a soft, playful and non-hierarchical
way of lighting the space. Why should we limit ourselves
with a soulless scheme considering only the use of the
space (in that case a call centre)?
Our target became then to create a space where
people don’t hate to work in. Through a series of
talks, we nally gained the client’s trust to proceed
with an unconventional scheme that would bring back
atmosphere to that space. And I think once more it is all
about trust to the appointed team.
Fig. 93-95: Amigo Loans Oces, The Nova Building, Bournemouth
Appendices 149
AG: A lot of people claim functionality doesn’t go
together with lower light levels. Throughout my
research, I found a number of projects that refute
this claim, including tube stations, retail stores,
museums, churches or even art installations.
MG: It is true, none of it makes sense. If you are able
to walk down a staircase drunk on 5 lux and not fall
over, why do we have to light a staircase in an oce
building with 300 lux? It is literally the same experience.
Considering also that we grew up with low level light
levels, this is only the result of going brighter and
brighter. To be honest, we shouldn’t worry to where we
are at the moment, (because I am as much to blame for
being on my phone all the time), but to where we are
heading. Before we realise it, we will require 2000 lux
to light up a staircase (giggling). And this will drag our
profession to the opposite direction to where it should
be going.
AG: How have you found yourself integrating
darkness in the design process? Darkness can not
be dened as a number or quantity but it has a lot o
ways that could be communicated in a space.
MG: This is probably not what you would like to hear but
the truth I found for getting clients to buy in to embracing
darkness is by saying that it is cheaper! When we did
Guinness, I remember saying to them that the premises
they where in don’t feel like Guinness, that it doesn’t
refect Guinness’ image, identity and philosophy.
Contrast was very much what it was missing; black and
150 Michael Grubb: Interview Transcripts
white. You could see the client going very nervous just
in the sound of darkness. However, once you explain
that by darkness we mean contrast to create focal
points of interest, then clients are much more open.
And even more when the added value of this concept
would be less ttings and energy consumed leading to
lower maintenance and running costs. This approach is
obviously not a long term solution to persuade clients
to accept darkness in the schemes, but admittedly it
has worked in some cases. The more we encourage
condence towards lower light levels, the more
designers will propose it, making hence clients feel
comfortable with darkness and its various faces.
High contrast conveys the message of something being
of a special value, either quantitative or emotional.
Where the light hits becomes the centre of attention,
leaving the uninteresting elements of space to fade
away in darkness. This is a typical way to communicate
that something is unique. The human eye is trained
to ocus on the brightest point o the visual eld. The
lighting designer has the power to train the eye to look
and experience the space in an order he will choose as
suitable. The best way to train the eye is to cancel the
uninteresting data and build up a hierarchy and directly
a depth o eld. It is important to keep in mind that
nding a balance between light and dark is essential.
Contrast could create drama, but it has to be just as
much as to serve the purpose. At the end of the day,
our aim should be changing people’s perception and
going back on the Guinness project, one of the pages
in the concept presentation says “Embrace Darkness”
as an effort to say that to get the impact of what we
need to achieve, one needs to embrace contrast and
shadows etc. Our aim is to provide enjoyable places
where people feel comfortable. People are gradually
catching on and realise how right we are and where this
world needs to go.
AG: Would you say we need to be louder or more
intense with our efforts then?
MG: Maybe yes, maybe not. Building up this philosophy
takes years because no one likes to be patronised in a
direct way. The best thing to do is basically educate our
clients, our design team partners, the architects, and
hope for a gradual change. If you do it gently, people
tend to be very responsive to new ideas. I am condent
that we slowly get where we need to be. In regards to
legislations, we need a refresh the way we deal with
them.
AG: How important architectural materiality is when
we shape a lighting scheme? Does it go hand to
hand or is a one way relation?
MG: Well, if you think that light is nothing without
architecture, you realise how important materials and
surfaces are. A lighting scheme can be hated or loved
depending on the materiality.
AG: A recent campaign of IALD chose as its headline
‘Another person’s dark space is our blank canvas.’’
Appendices 151
 Do you agree with this statement?
MG: Yes totally. There is nothing more pleasing as
having a blank space and no restrictions to conne your
imagination.
AG: Would you be able to name a project or a vivid
Fig. 96-98: Guiness Storehouse, Tasting Rooms
memory of yours being sensually fully engaged
with an architectural space?
MG: I think the work we did with Guinness had these
sensual qualities. More specically, the route leading
towards the tasting rooms was left intentionally really
dark and the reason we did that was because we
wanted to create the feeling of going from daylight into
a tunnel towards something inevitably priceless. The
tunnel became darker and darker, washing away all the
senses in order someone to enter puried the tasting
rooms of the beer company and feel overwhelmed.
AG: Do you see a point having an added new metric
on darkness in the future?
MG: No, because i you take ve well known lighting
designers in a hotel room and ask them to congure
the lighting to their personal preference, none will do
the same thing. It is a subjective world that we live in.
152 Michael Grubb: Interview Transcripts
I don’t think that we all like to be blinded or plunged in
darkness but there is a range between those extremes
that each of us sets its own personal comfortable level.
I think that if you give the people the opportunity to do
that, we would end with various concepts. The reason
we are not allowed to be so subjective is that we are
under a lot of pressure nowadays to save energy. I don’t
think it should be but energy at the moment seems to
be more important that the user himself. If energy was
free of charge, trust me we wouldn’t be having this
conversation right now.
AG: So, if it is a primitive human preference to lower
the light levels in our personal environments, why
does it not feel right to do the same in public spaces
too?
MG: Because people got used to high intensity of light
in public spaces. We have trained ourselves to get used
to changes on light levels. If we fall over a staircase,
we blame it on inadequate light levels, because the
standards say something different. We need to go back
to a more human experience of our environment. After
all, respect within your own profession comes by being
brave.
Appendices 153
collaboration with World Expo on the UAE pavilion. It
was a really good project to be involved in and our work
with the architects was very close. During the brief we
received from the architect, there was a clear preference
that the lighting has to bring the textural qualities of the
architecture in the foreground. To establish the best way
to light the perimeter walls of the pavilion, we completed
a number of lighting tests, through which we realised
that a degree of darkness and shade was essential to
highlight texture, so in a way the lesser the light the more
the effect. Light hits the surface as a brush stroke from
predetermined angles to make the material stands out.
I we had instead used a series o foodlights to uniormly
wash these walls, the result would be disappointing
due to lack of drama, texture and tonal variance. The
architecture of the pavilion with all these curved forms
shaping a protected shell is beautiful by itself but light
and shadow transformed the place to an outstanding
experience. Another factor that plays a tremendous role
in temporary projects as such is obviously budget. So,
the idea o making the most out o less ttings links back
to the available budget, while being environmentally
conscious.
Another way of darkness is through the shadow
patterns. We worked on an exterior project where we
had to light large expanses of grass. We created a
dappled light effect which is basically soft patterns of
light and shadow. It was surprising to see the people
were attracted to the area to mingle or have picnic even
in evening hours because they felt it was comfortable
to be there. People approached the space by being
curious at the beginning and then embraced it for what
it had to oer. Sometimes, I wonder i we had foodlit the
whole of this space, we would probably have no people
sending their evenings there, apart from men playing
football (laughs).
156 David Atkinson: Interview Transcripts
AG: Would you say then that materiality plays an
important role during the design process?
DA: I think so, yes. It is essential to be aware of the
materials the architecture you design is composed of.
AG: When designing a space, we aim for people to
connect with it? How do you think we achieve to
make a space memorable for the end user?
DA: That’s a really dicult question. It really comes
down to the use of the space I would say. As designers,
we shape an experience and lighting is a part of it. I
think that we need to create spaces that people feel
comortable to be in. Gaining the user’s trust is the rst Fig. 99-101: UAE Pavilion World
Expo 2015, Milan
step of leaving an imprint in people’s mind.
AG: What kind of arguments have you used to
convinced clients that darkness can be used as a
design element?
DA: It depends on the project. You nd some projects
being more fexible and also returning clients whose
trust we have gained as a studio. I think the strongest
argument to convince a client and other design parties
is to conduct lighting trials during concept and scheme
design stage. Mocking up the effect of light and shadow
is incomparable to any photorealistic render or lighting
calculation. Demonstrating the actual product gives
to the design the opportunity to explain and to the
client to gain a better understanding of how light and
shade behaves. I tend to use the term shade because
darkness relates to pitch black environments, creating a
false meaning of what we mean.
Appendices 157
 AG: How would you explain the use of darkness as
a medium to emerge spirituality, introspection and
AG: Would you be able to recall the last time you
feeling of intimacy and familiarity? Darkness in all
felt sensually engaged by an architectural project?
its faces has commonly being used in museums,
churches, spa & treatment centres but also in less
DA: The most recent multi-sensorial experience I
obvious applications such as retail stores, public &
had is when UAE pavilion was completed. First, one
commercial spaces.
approaches the pavilion feeling overwhelmed by the
scale and form of the perimeter curved walls. As I
DA: Some of the areas you mentioned call for an under-
described earlier, the architectural lighting my oce did
lighting treatment, as spaces need to feel inviting but
for Foster+Partners was quite sophisticated, aiming to
not prominent. In case of a church, a spa or a museum,
attract the visitors to explore its interior. Once you go in,
people are required to concentrate either to pray in a
the guest nds himsel in the “ Visitor Experience” area,
church, or relax in a spa or comprehend and welcome
which is the main drum of the site and it’s an auditorium.
in the art presented in a museum. The common thing
This compact auditorium is an immersive environment
between these environments is that people have to see
with 360 degree lm projection. The audience is lit
their inner self, consider and revaluate principles in life.
in conjunction with the lm, as an eort to oer a ull
embodied experience. In the instance o re projected in
the lm, refected warm lighting is used to communicate
AG: Do you see a point having an added new metric
the ambience and create even the illusion of being inside
on darkness in the future?
the scenery. As a design team, instead of just having a
projected show, our purpose was to create a sensual
DA: I think it would be very useful to be able to generate
experience of which the visitors are part of. That is when
for example an analysis on contrast ratios. I still believe
all senses are engaged not only by the lm projection
though that people mustn’t trust just the outcomes of a
but also because visitors are being immersed in colour
computer software. The results are useful data but they
or sounds depending on the case. Please note that
are only some tools a lighting designer is equipped with.
creating sensual engagement and visual illusions in a
Using our hands by sketching or mocking up thoughts
short distance is much harder than in a longer distance.
and ideas is much more valuable to me and my team.

158 David Atkinson: Interview Transcripts Appendices 159

luminous fux o a 10W LED light source will probably
increase considerably in 5 years’ time. Therefore, it is
important to keep in mind that when designing having
in mind power consumption related to measured area
(W per sq.m), we could get carried away and over-light
a space, when using highly ecient products that even
exceed 100lm/W. We need to think environmentally but
also be aware of the lumen packages the selected light
ttings provide. Another aspect to consider is how the
maintenance of a lighting scheme over the years could
be infuenced by the evolvement o LEDs. When a lamp
fails and needs to be replaced, the time intervened for
an LED to burn off is enough to increase the luminous
fux o the same type o lamp, resulting to a higher light
level than the one designed in the original scheme.
AG: Today, sight is our dominant human sense.
Do you believe that when vision is challenged by
moderate darkness could result awaken the entire
of our sensual system to be activated in order to
perceive space?
OM: I have the perfect project in mind that I could
describe in order to answer to your question. The
restaurant named ‘The Fat Duck’ in Melbourne, Australia
is owned by a 3-star Michelin chef. The lighting scheme
was designed by Electro Light, Australia. The interior
162 Orlando Marques: Interview Transcripts
is very clever, as all surfaces, horizontal and vertical,
have black nish. The che’s aim was to take all diners
in a multi-sensorial journey, triggering all senses to
collaborate and contribute to the experience. It has
been proven that the visual organ responds 10 times
faster than any other sensorial organ, explaining why Fig. 102-104: The Fat Duck
vision has dominated our daily life. Restaurant, Melbourne, Australia by
Electro Light
Another example concerns an experiment made in 2001
by the PhD student Frédéric Brochet at the University
of Bordeaux in France where oenology students
participating. The experiment required a number of
subjects to taste wine from two different glasses. One
glass had white wine and the other red wine. Further,
the subjects were asked to note their thoughts on the
characteristics of the two wines. The majority of the
collected data were related to the colour, such as a
tone of pineapple or red berries etc.). At the end of the
experiment, the organiser of the experiment revealed
that both glasses contained the same wine. The only
difference was that in one glass he had used a colourant
to dye the wine red. The experiment proved that taste
is strongly related to the visual messages our eyes
pass to the brain. There are numerous cases, when our
vision fools our brain, resulting in misleading perceptual
results.
Appendices 163
AG: Would you say that there have been endeavours
to redene the role o darkness in lighting design?
OM: I think redene is a dangerous term. Shadow and
contrast has always been a part of our world. The book
‘In Praise of Shadows’ by Junichiro Tanizaki is a proof
that introducing darkness and shadow is all about seeing
and recognising their value. Japanese architect has
found a subtle way to use shadow as a crucial part of its
philosophy. In the Western world, I think that we need to
nd a way to present shadow and contrast in the right
context. This approach is very much dependent upon
the architecture though. We always relate our decisions
to the surfaces and structures forming the environment
to be designed. Holding a dialogue between architects
and lighting designers during the design process is a
key factor to create a successful architectural space,
where architecture and lighting complement each other.
AG: To which extend contrast contributes to the
perception of the space?
OM: First, it depends on the amount of contrast in a
space. It can hold the rst place in the design hierarchy
or it could be hardly perceived. In a school classroom,
164 Orlando Marques: Interview Transcripts
contrast could result to visual discomfort and loss
of mental concentration. On the other hand, the
Abercrombie & Fitch brand has an extreme marketing
strategy that aims not to go unnoticed. The moment
a guest steps in the shop he is vaporised with their
signature scent. Further, the loud music followed by
a sharp visual contrast of light and darkness, shapes
an overwhelming experience that encourages the
customers to shop quickly.
AG: Would you be able to name a project or a vivid
memory of yours being sensually fully engaged
with architectural space?
OM: I think the “Nagasaki National Peace Memorial
Hall, Kyoto State Guest House designed by LPA and
headed by Kaoru Mende is a very balanced example
of such a project. The lighting techniques bring in the
oreground the nishes encouraging visitors to touch
and experience the space through all their senses. By
denition it is a very emotional space due to its scope
as a memorial but I believe architecture and the lighting
strategy using as little light as possible contribute to
evoking peaceful feelings to the visitors. Karol Mende
is a great supporter of darkness throughout his career
and he has proven that it is not the quantity of light that
makes a space stand out. The most important is to use
the right light and lighting qualities in the right place. The
reason I chose to mention this project is because it has
a lot of layers of light and darkness that overlap, working
in harmony together. This treatment adds an intangible
texture to the project.
AG: As you know, we have available a number of
ways to measure light but not darkness. Darkness
is still a vague tool on a designer’s hands. Would
you consider the establishment of a new metric
dedicated to darkness being useful in the design
process of a project?
OM: So far, we measure light and darkness in the same
way using the same tool; the luxmeter. What we don’t
have either for light or darkness is a tool to measure
qualitatively. Measuring quality though would maybe
result in losing the charm of design and interrelations
of light, darkness and materiality produced on site.
Fig. 105-106: Nagasaki National
Obtaining full control of the end result could vanish the
Peace Memorial Hall, Kyoto, Japan,
satisaction o reality. It is denitely something we need LPA Inc.
to consider in the future.
Appendices 165
 A recent strong sensorial experience I had in one o my
regular visits to Scotland, took place in Edinburgh’s summer
{ estival. A portable round theatre set oered limited space
but large experiences, ull o music. The proximity between
stage and seats created a mystic atmosphere, encouraging
amiliarity and comort amongst attendees and musicians.

in the favour of the proposed lighting scheme. Energy
standards become more conned every year, leaving no
space for wasting energy and light where it is not needed.
I think this is a smart and indirect way of promoting that
lower light levels could not only be sucient but also
benet the project with added qualities.
AG: Similarly to light, darkness can be used in
multiple ways. It can be sharp contrast, light and
shadow patterns, diffuse shade or a ambient low
light level applied in an architectural space. How
have you been integrating darkness in the design
process of a project throughout your career?
IR: During my career, I have been involved a lot in
aviation work. Airports have special needs when it
comes to lighting. By denition, an airport is designed
as a transition area where people spend limited time
in its facilities. One could expect that although massive
architectural structures, little attention would be shown
on airports from an aesthetic point of view. However,
due to the scale of an airport, it is no surprise that often
lighting plays a signicant role. Commonly, airports are
comprised of vast expanses of interior squared areas of
versatile architecture that enclose all relevant facilities
such as airports gates, arrival and departure halls,
lounges, retail units, food courts, waiting and circulation
areas to name a few, each of them laid on an open
layout neighbouring one another. When dealing with
projects of this scale and this level of user accumulation,
it is essential to set an explicit hierarchy, highlighting the
functionality of each area. Lighting design can contribute
to this demand evolving lighting schemes that assist
to break down the space in segments. For instance,
a circulation concourse crossing among the waiting
seating areas in front of the gates shall be treated in
a different way to distinguish the change of function.
Lighting standards may give values for airports, but it
doesn’t mean that a seating area is required to have the
same light levels as a circulation concourse. In lounges,
I have often proposed lighting methods less informal
and enriched by contrast to encourage socialising and
convert a dull transition area to a more attractive and
comfortable environment for the user to be.
It is important to note that lighting is only one way of
establishing hierarchy in an architectural project.
Change of materials, tonal variance, textures and
obviously signage hold their own part on navigating
people and implying use.
AG: The way you concluded your answer, it
brings me to ask your opinion on the importance
of materiality when developing a lighting design
scheme.
IR: Materiality is everything. As an oce, we are oten
appointed and requested to develop a lighting scheme
long before even main materials have been decided,
which I nd incredibly bizarre. A lighting designer can
not propose a lighting method if not fully provided with
― Iain Ruxton
essential information such as materials. I would never
light a textured wall and a glass wall the same way.
Attention to detail make the difference on the result
and often observed imperfections on site are related to
materiality that has not be given adequate attention.
AG: Darkness on application. Is there a limit on
where darkness shall or shall not being used? How
does the interplay of light and shadow contribute to
the capture of the sensory dimensions of a place?
IR: I don’t think that there is a limit. The use of contrast,
because darkness implies high ratios between light
and shade, is very much driven by the scope of the
project, as well as the user. I think that darkness is
related to luxurious and sophisticated environments.
Imagine a high end fashion boutique; we often observe
impactful schemes where contrast adds on the luxury
of the products displayed. Luxurious products are being
treated as pieces of fragile and priceless art. Moderate
darkness slows down the speed of daily life and allows
time to engage and feel the space and merchandise.
Contrast appears to have a similar role to museum
schemes too. In museums, apart from the conveyed
message of approaching a unique item to be noticed,
darkness acts as the ideal background in which the
visitor can introspect and contemplate while attempting
to connect with the exhibits and the stories they
carry. Also, an expensive restaurant would never be
illuminated utilising high power foodlights/ wash lights
for the dining area. Diners would rather dine under the
{
light of candles in an intimate atmosphere. Luxury calls
for darkness. On the contrary, budget retail chain or
fast food restaurant lean towards high levels of uniform
light applied all across the surface area, increasing the
speed of mass service and decreasing the duration
of stay. Contrast creates some level of sophisticated
obscurity that triggers the user to explore the space,
touch, observe and allow to the environment to leave
an imprint on the visitor’s memory, as a space worth
visiting.
AG: Could you briefy describe the last time you
felt sensually engaged with a project or a space
surrounding you?
IR: That’s a tricky question because fortunately it
happens quite regularly. So, the last time I visited
Edinburgh a couple of weeks ago, I spent some time in
the festival taking place yearly in Scotland. One of the
shows I attended was held in a round portable theatre that
could be dismantled and packed within a few hours. The
stage was in very close distance to the audience seats,
which were orbiting the stage. The music was entering
your soul and the scenery was very atmospheric. I felt
that proximity created a sense of familiarity among the
performers and the people surrounding me. It was an
unique moment of this summer and a type of theatre I
will never forget.

168 Iain Ruxton: Interview Transcripts Appendices 169