Ranko Skansi, M.Sc.

LIGHTING LIMES

Summary
When we speak lighting, we usually mean technology. But, theres a whole world of emotions, feelings, ergonomics and other almost poetic stuff, hidden behind lighting. If an architect is really good, and fruitful then a light designer should follow his steps accurately. Light designer have to understand basic and advanced ideas of an architect. Only if this occurs a final result will be satisfying for everybody. Architecture is copy of nature, and if it is really good copy, then an atmosphere inside newly created space can be pleasant. But it is not enough to have walls and furniture. The most important thing about emotions (when we speak about architecture) is adequate lighting, But to be good light designer, means understand premises of nature, needs of people and possibilities of synergy between architecture and lighting technology.

Povzetek
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1. Introduction
In order for the light to shine so brightly, the darkness must be present. (Francis Bacon) What does it mean? It means that only where there's darkness we can be aware of light, because from the contrast we will see the light. To be able of creating good light design, one has to enter into the mind of architect (for whom we presume already entered into the head of his customer). This technique will help us in our creation procedure. Even if this seems very tricky, and somehow spooky, this is not as complicated and delicate as it seems to be. The only thing we have to do is to understand nature in its beautiful form and varieties, and at the same time, recognize clients needs and expectations. If there are enough information about our client, his space, architects vision and usable technology, we have all the necessary tools for good light design.

2.

Basics

Light is invisible until it reflects from an object. Form of the object along with intensity, distance and direction of the light creates new form: SHADOW! We can say that: SHADOW DEROGATES LIGHT!

Meaning of this is that light as a media is completely invisible. We can see it only if there's something on its way. It can be an object, so light will stop when it touches an object. In that very moment, light will somehow become an object. If some part of the lighting rays missed the object, they will continue to exist as the object's part, because they will form a new element, a new form: the SHADOW! In a way, we can say that shadow derogates the light! Nature, creates by force and by light, various stabile and unstable shapes, that can last forever, but also only for a fraction of the second. Nature emphasizes details, making them marvellous and unique, so they will hardly be overcome. And at the same time, nature highlights shapes she created, so one can understand all the plastic details and perspective relations. And, at the end, nature reveals secret parts that will be offered only to a persistent viewer and honest soul.

Architecture is the masterly, correct, and magnificent play of masses brought together in light. Our eyes are made to see forms in light; light and shade reveal these forms. (Le Corbusier) Famous architects become famous because they had ability to copy the nature in different but accurate details. By means of architecture, we have a creation game done by the force of light, where patterns change during the day and during the season, so we have continuous play of forms and shapes. By highlighting particularities, designer or an architect build memories that will remain incised in our mind, revealing only pleasant emotions. As nature has been replicated in the architecture, we had to find a way how to replicate it by lighting too, so we can remain compatible with a nature. Natural lighting can create geometric shapes, can surprise by sudden impact of sunlight, can provoke the religion by its ray, and can confuse our perception by creating forms that are not logical on the certain object. If we understand premises of natural light, we can imitate it by use of artificial light. However, to do this, we have to study accurately what lies behind the scenes. Only in this way we will reach point of understanding the concept of lighting in its basic nature. And only then, we will be able to perform really good artificial lighting.

3.

Lighting creations

To create with light... ... means to understand unbreakable connection between light and shadow. And when we meet the shadow and begin to understand it, we will find out how light and shadows are connected forever and ever. Object will not exist if there's no light, but light will never show as an object if the shadow will not appear. To understand light... ... means to understand variables of the nature! Means to enter into the mystic and secret world of nature's profound. When the nature lifts up the skirt it means that she let us understand what lies beneath. Then we will be honoured by a knowledge only few could see and touch. This knowledge will open us new horizons and will guide us to the new frontiers. We will reach coast of the lost island where all the secrets are revealed. And when we profoundly understand what nature showed us, we will be rich and wise. Only then we will be able to perform pale copies of the natural phenomena and only then our work will be prised by the people who will be close enough to see our work. To live light... ... and in a subtle way to introduce it to our own space!

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What does it mean? It means that when we conquer the lost island of truth, we will understand all the various forms of light and shadow, so we will be able to improve our living by introducing accurately studied lighting systems to our life and to our home.

4. Light designers tools

Brightness Brightness is the basic tool, and by understanding possibilities of brightness will permit us to establish a correct level of illumination. As we already know, difference in brightness, present in the same space, creates contrast. It is important to know that too much of brightness will create glare and discomfort in the space. Too less of brightness can create other type of uncomfort, maybe even an anxiety. Thats why we speak about brightness at the first place. When no obstacle is on the way of light, brightness reaches its maximum values. Then nature opens all the secrets to our mind, so we can be absolutely sure that what we see is what we'll get. In the spaces where good orientation, and good task performance is needed, we have to create same atmosphere. Glare can occur if the intensity of light from the direction we are looking at is too high, or if the contrast between light source we are looking at and its background is very high. In such a cases we will find difficult to see beyond this glaring light source. Sometimes it is good to create such scenery by use of artificial light, but those cases are rare. Nature, however, play with all the means she have, so glare and blinding light can be found on the daily basis, specially where the air is clean and the humidity low. Brightness is in direct relation with illumination, so to have an idea of how it works in the nature, we can show natural (and some artificial) light sources and relative illumination level that they produce. Next table shows basic values:

Illumination 0,0001 lux 0,001 lux 0,01 lux 0,25 lux <1 lux 10 - 15 lux 3 - 50 lux 100 lux 400 lux 300 - 500 lux 750 lux 1.000 lux 32.000 lux 100.000 lux

Example Cloudy night without moonlight Clear night without moonlight Crescent moon Clear night full moon Moonlight Candle at 20 cm Street lighting Standard livingroom Sunrise or a sunset on a clear day Office lighting Halogen bulb Sunlight 1 hour before dawn Sunlight overcast sky (min.) Sunlight clear sky (max)

In the context of artificial lighting we do use intelligent electronic systems to dim the light, but in the nature, clouds do this function. Thickness of the cloud layer will define final intensity of sunlight, so we can have extremely subtle light in the middle of the day, as well as full clear spectrum on its highest intensity in the next moment. Colour If the brightness alone is not enough, or we speak about illumination of pure forms, without details, we can improve our project by use of colour. Colour can be performed singularly or dynamically, what depends on our imagination and on space possibilities. This light designers tool is delicate, because unlike the brightness, colour is subject to taste. Clever use of colour can perform so called cromotherapy, that will help people feeling fine and relaxed under such an atmosphere. Theres a list of relations between colour and emotions, and is shown in the next table.
GREEN BLUE-INDIGO VIOLET RED ORANGE YELLOW Supports: Balance, Harmony, Love, Communication, Social, Nature, Acceptance Increases: Peace, Love, Honesty, Peace, Kindness, Truth, Inner Peace, Emotional Depth, Devotion, Trust Stimulates: Intuition, Imagination, Universal Flow, Meditation, Artistic Qualities Increases: Physical Energy, Vitality, Stamina, Grounding, Spontaneity, Stability, Passion Stimulates: Creativity, Productivity, Pleasure, Optimism, Enthusiasm, Emotional Expression Increases: Fun, Humour, Lightness, Personal Power, Intellect, Logic, Creativity

From the other point of view, we can give each colour psychological meaning of response, as presented in the next table:
RED BLUE GREEN YELLOW PURPLE ORANGE BROWN GREY WHITE BLACK Power, Energy, Vanity, Passions, Love, Aggression, Danger Trust, Conservative, Security, Technology, Cleanliness, Order Nature, Healthy, Good luck, Jealousy, Renewal Optimism, Hope, Philosophy, Dishonesty, Cowardice, Betrayal Spirituality, Mystery, Royalty, Transformation, Cruelty, Arrogance Energy, Balance, Warmth Earth, Reliability, Comfort, Endurance Intellect, Futurism, Modesty, Sadness, Decay Purity, Cleanliness, Precision, Innocence, Sterility, Death Power, Sexuality, Sophistication, Death, Mystery, Fear, Unhappiness, Elegance

Like other elements, colour has different dimensions. It can be bright and subtle, it can be mixed or single, and it can be improved by texture. We talk about colour of light even if we talk about white light. Conventionally we can distinguish warm white from cold white colour of light. And theres a whole palette of tones in between. Use of one particular tone depends on surrounding, basic purpose of an ambient and our imagination. Hence, our imagination is not to be placed at the beginning of decision process. It has to be strictly related to users needs and taste. An experienced architect and interior designer knows that colour of walls, carpets, curtains and ceiling is very important so they do not hazard by combining random colours or by forcing one colour that is no appropriate. Maybe they dont know about table presented before, but they have a feeling for composition, and that includes colour, too. One should know that natural light changes a tone of white during the day. This is a natural process and all living beings are adapted to this interchange. In artificial environment, where we introduce artificial lighting, we should copy those changes, to make environment pleasant and synthetically natural.

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SOURCE DUSK / SUNSET CANDLE HIGH PRESSURE SODIUM 40W INCANDESCENT BULB TUNGSTEN / HALOGEN BULB MORNING / AFTERNOON LINEAR FLUO TUBE METAL HALIDE LAMP XENON LAMP / ARC NOON SUNLIGHT (OVERCAST) DAYLIGHT POLAR DAYLIGHT

CCT 1000 1500 K 2000 3000 K 2680 K 2900 3200 K 3200 K 3000 6500 K 2800 6000 K 4500 5000 K 5500 K 6500 7500 K 9000 12000 K

Brightness and temperature of the white colour directly influence feeling of comfort even in neutral and standard environment. This relation is described by Kruithofs diagram. This diagram shows a space of comfort and uncomforts combination of intensity and Correlated Colour Temperature.

UNPLEASANT PLEASANT

UNPLEASANT

Warm atmosphere, where everybody is relaxed, can be performed by reaching the point of awareness that during the day, only in the evening, the natural atmosphere is warm enough to hug us and to make us feel relaxed and in a friendly environment. Relaxation is not the only emotion we have to have during our standard day. We have to be concentrated and prepared to work. We have to be inventive and dedicated. We have to communicate and have a focus on the important things. Only by use of cold white light this will be possible to achieve. Best performance in our space can be obtained by use of dynamic lighting that changes CCT during the day, imitating natural phases of lighting. Light in nature changes at the random rhythm. If at one moment we do have high intensity of lighting from the clear sky, and next moment cloud covers the sun, we will have dramatic drop of the lighting intensity. It also happens with colour, when we do find ourselves in the situation of various colour objects around us. Every each of them reflects light and this light will be coloured. If the sun becomes covered by a cloud, those colours will change, too. In the nature we will not find a situation where colours are not compatible one with another. Unfortunately, we can do the mistake by creating coloured atmosphere by our own, so again, we have to impair from the nature, because only then we can hope not to do the mistakes in colour relations. Direction Everything in the nature is in balance. Sky and ground, night and day, sea and coast, left and right, up and down. Balance is the moment when no wind blows and when no sound changes the perception of the space. If nature does that, we have to do that, because we have to perform copies of the nature. One of the reasons is that we as a species, have learned and impaired to have those natural situations pre-programmed in our brain. If this kind of balance is what we need, we also have to be able to do it in artificial situations. One of the most important light designers tools is direction of lighting. Natural light always comes from above, although, when we speak about artificial lighting, it unusually comes from below. The reason is pragmatic we usually dont have an opportunity to place our luminaries high enough to simulate natural lighting, especially sunlight! However, lighting from low elevations is not useless. There are a huge number of possibilities that we can use in our exterior and interior ambient. Even more, artificial lighting offers us some theatrical possibilities that can be used in special situations. Also, unlike natural, artificial light can be modulated in various dimensions: brightness, colour, direction, contrast and time!

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Contrast Contrast is the difference in colour and/or brightness between an object and the background. Nature shows its beauty by use of accent light. If the air is polluted by aerosols or mist, natural accent light will be more than obvious. Good architects during the history understood that effect so they used it for different purposes. One of the most important situations where they used accents were in sacral architecture, where light and shadow are most important elements of liturgy, because they create final atmosphere, and with this, special emotions and states of mind. Sometimes we have to pull out an object from the background, to make it more visible or more important. We have to do it by use of contrast, if we are speaking about light. Contrast in brightness or contrast in colour will do almost the same effect. When we do have high intensities of light, it is almost impossible to perform contrast in brightness. But as the nature can do it, we can do it. We can create contrast in colour; so again, we will have good understanding of the particularities and important parts of the scenery. Time Nature knows when its' time to stop with high power lighting that shines during the day. Then the nature starts to dim her's natural lights. The atmosphere becomes subtle and gentle, shadows become longer and deeper, and the day goes to rest. This moment of the day, we have to remember, because at the same time we, human, and our body will start to prepare for the rest. Artificial lighting has to be in grade to perform identical atmosphere in our space. Variations in brightness, as usually exist in the nature, is almost impossible to create in our artificial spaces. Hence, if we study natural variations of the average brightness during the day, we could create a copy of those variations in the interior space. This can be performed by introducing so called Dynamic lighting.

5. LIGHTING TASKS
Basic lighting tasks are presented by the circular diagram, and it is obvious that we have to comply different premises for having the light accurately planned. We have to create mood, atmosphere and emphasize an emotions (together with an architect), by combining architectural space and professional lighting systems. We have to reach good visual comfort to let people perform their tasks without any visual obstacles. Of course, illuminating system has to have adequate aesthetical impact, so it will be compatible with the rest of the space. Health and security are maybe most important tasks to perform, and we will try to fulfil those requirements by usage of adequate colour temperature and good dynamic

lighting systems. To perform good social communication, in the working and public environment we will combine artificial lighting with the daylight, and in this manner be at the course of compatible cooperation of them both. To create better working environment, we will study lighting systems for every particular situation. Lighting quality depends on function and aesthetics. Functional lighting system has to perform good visibility, clarity and as low glare as possible. From the other hand, however, aesthetics of lighting depends on creation of the atmosphere, highlighting particularities and revelation of the paths and directions. This combination will guarantee good and quality lighting.

Other way to describe lighting quality is differentiation of performance, ambient and pleasure. Performance means that we have to obtain uniformity, glare reduction as much as possible and appropriate intensity. For the model, we do have to understand the space, to adapt CCT to it, and to study carefully direction of every each luminaries beam. At the end, pleasure has to be fulfilled. This will be done by careful choose of good colour rendering sources and finding an optimal contrast relation. Diagram shows relation between sharpness of the view and lighting intensity. By increasing of the light intensity, we will have better and better visual performance. (Elderly people can read newspaper on the sunlight).

Next diagram shows relation when 20 year old person have full satisfaction with visual performance at 100 lux, for person of 60 yrs. It has to be more than 200 times higher to have same satisfaction. Diagram has been created to show various age relations.

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In the ambient where illuminance increases from 90 to 500 lux, we have 15,9 % of better detail notification, 9,4% of improvement in logical thinking and 5% of improving in fast and accurate calculation. Those parameters are important to know when we want to create correct atmosphere for demanding spaces such as office and school. Next diagram was made as a result of various interviews among children and their parents, but also among teachers and their families. It was discovered that more accurate answers were given by family than by direct user of the space. By implementing the dynamic lighting in the schools, we had following results: Kids and teachers are 76% less tired!!! Level of concentration increases for 45% and speed of accurate reading increases for 35%! That information was implemented in all of our next projects, when we talk about educational institutions. Combination of correct brightness, glare control, uniformity, CCT as dynamic lighting system guarantees us good creation of educational institutions.

6. DESIGNING THE LIGHT

Lighting has to be made for people, same as places are made for the people. Only if those extremes are in balance, result will be satisfied. Quality of lighting is context of knowledge and possibilities. We divided all the possibilities in only three main and three secondary categories, that in total covers all the lighting extremes. AESTHETICS We have to know that lighting is the most important part of the site equipment. It is better to have empty space with good lighting that perfect interior with poor lighting. Lighting has to be in line with the rest of interior, so luminaries had to be compatible in design sense, with the rest of the space.

FUNCTION As mentioned before, lighting has to obtain functional dimension of the space. A part of this we have various scenarios at our disposal, and modern technology offers us simple controlling systems. EMOTIONS Emotions are what we are talking about and all of the previous talk was performed for! Careful variations in lighting levels in combination with different CCT's and luminaries positions will guide emotions in desired direction. ARTIFICIAL LIGHTING Studying an artificial lighting means careful choose the number of luminaries, types of light sources and optimization of energy consumption. DAYLIGHT More daylight we use, more efficient our installation will be, and more satisfied client will be! To find an optimal balance between daylight and artificial lighting, will ensure good finalization of a project. Our intelligent control systems have to be able to decide whether to switch off some luminaries close to window or not, depending on intensity of outer lighting. CONTROL To save money is the basic idea of every investor. If we equip our lighting system with presence and daylight sensor we can obtain up to 60% of savings! Further savings can be done by combination of our lighting control system and other automated systems on the site (shades, ...) In general we can say that different tasks ask for different lighting. In the relaxation context, we have to offer warm light in medium intensity provided by various small luminaries. Communication is best performed under the cold light of medium intensity with combination of sources. Concentration demands for cold light of high intensity from the few, usually hidden or neutral luminaries.

RULES FOR GOOD LIGHTING Adequate illuminance The performance of the human eye largely depends on the level of illuminance in the visual field. As illuminance increases, motivation and overall performance are also enhanced, while the tendency to make mistakes declines.

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Harmonious distribution of luminance A balanced distribution of luminance on the various surfaces makes an interior visually interesting. Inadequate or excessive contrast, on the other hand, causes visual strain and fatigue..

Adequate glare control Glare in an interior is rarely so severe that visual performance is significantly reduced, but it can be irritating and cause eye strain. When we do have glaring surfaces (glass outer wall, reflection from the pavement), we do have to balance it to make ambient in balance.

Good contrast rendition Contrast is necessary for the human eye to be able to discriminate between objects and their background. A lighting system with good contrast rendition does not cause reflected glare even on shiny surfaces and documents, so that text is easy to read even on glossy paper. Dark surfaces in our mind seems more distant, and picture like this can somehow disturb our perception of the space, because even if the object is close to us it has brightness much lower than more distant surfaces. We understand that kind of composition as illogical. We can improve this situation by adding some spot light that will illuminate dark surface of the metal sculpture.

The right direction of incidence The direction of incidence of light is important for Contrast Rendition, as it determines the angle at which any reflections can be seen. It influences the distribution of light and shadow, which is the key to three-dimensional vision on the one hand, and can be irritating or even dangerous in the case of heavy shadows, on the other.

Pleasant shadow conditions Shadows reinforce three-dimensional vision and facilitate orientation. Good shadow conditions are the product of an effective combination of diffuse light and directed light. It is of essential importance to have constant perception of the surrounding space, even in the moments of complete relaxation. By use of gentle shadows, we can provide good surrounding for people enjoying this wellness centre.

Suitable colour appearance In the course of the day the light appearance of natural daylight changes. Artificial light can also be produced with different light appearances or colours so as to support various lighting functions and moods. Our desire is to create an atmosphere as close as it can be to the natural environment. Only then, objects in the room will have their natural outlook, and will be understandable to our mind.

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Natural colour rendition Only the spectral colours that are contained in the incident light can be reflected by an object and perceived by the human eye. Colour Rendition is a measure of the ability of an artificial light source to show the natural colors of an object.

Effective lighting atmosphere Light affects our mood and feeling of wellbeing. The result is a subjective, more or less unconscious impression of an interior and its light. This aspect of good lighting planning also requires a degree of experience with the interplay of the various factors and a fine feeling for good light. Sometimes light will be created as personalised lighting object, so it will fit perfectly in our ambient. By use of this we will help in creating particular atmosphere. Efficient energy consumption A basic requirement for modern lighting planning is the careful and economical use of energy. The various solutions now available relate not only to new installations, however, but also to retrofitting and refurbishing old and inefficient systems. In certain occasions we can use really simple lighting system to perform all the lighting needed in our ambient. At the same time, we will save energy, and have our ambient energy efficient.

REFERENCES

LIGHTING Lindsey, Jack L. (1991). Applied Illumination Engineering. Lilburn, Georgia: The Fairmont Press, Inc.. ISBN 0-88173-060-2. Fetters, John L (1997). The Handbook of Lighting Surveys & Audits. CRC Press. ISBN 0-84939972-6. Guo, Xin; Houser, Kevin W. (2004). "A review of colour rendering indices and their application to commercial light sources". Lighting Research and Technology 36 (3): 183199. doi:10.1191/1365782804li112oa Burchett, K. E. (2002). Color harmony. Color Research and Application, 27 (1), pp28-31. O'Connor, Z. (2010). Color harmony revisited. Color Research and Application, 35 (4), pp267273. Pointer, M. R. & Attridge, G.G. (1998). The number of discernible colors. Color Research and Application, 23 (1), pp52-54. Hard, A. & Sivik, L. (2001). A theory of colors in combination - A descriptive model related to the NCS color-order system. Color Research and Application, 26 (1), pp4-28. Feisner, E. A. (2000). Colour: How to use colour in art and design. London: Laurence King. Mahnke, F. (1996). Color, environment and human response. New York: John Wiley & Sons. Bellantoni, Patti (2005). If it's Purple, Someone's Gonna Die. Elsevier, Focal Press. ISBN 0-24080688-3. O'Connor, Z. (2010). Colour psychology and colour therapy: Caveat emptor. Color Research and Application, (Published online in 'EarlyView' in advance of print). Albers, Josef (2006). Interaction of Color. Revised and Expanded Edition. Yale University Press. ISBN 0-300-11595-4.

COLOUR Goethe, Theory of Colours, trans. Charles Lock Eastlake, Cambridge, Massachusetts: The M.I.T. Press, 1982 ISBN 0-262-57021-1 Bockemuhl, M. 1991. Turner. Koln: Taschen. ISBN 3-8228-6325-4. Duck, Michael, Newton and Goethe on colour: Physical and physiological considerations, Annals of Science, Volume 45, Number 5, September 1988 , pp. 507519(13). Taylor and Francis Ltd. Gleick, James Chaos, pp. 1657; William Heinemann Publishers, London, 1988. Proskauer, The Rediscovery of Color, Steiner Books, 1986. Ribe, Neil; Steinle, Friedrich, Physics Today, Exploratory Experimentation: Goethe, Land, and Color Theory', Volume 55, Issue 7, July 2002. Schopenhauer, On Vision and Colors, Providence: Berg, 1994 ISBN 0-85496-988-8 Sepper, Dennis L., Goethe contra Newton: Polemics and the Project for a New Science of Color, Cambridge University Press, 2007 ISBN 0521531322

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Steiner, Rudolf, First Scientific Lecture-Course, Third Lecture, Stuttgart, 25 December 1919; GA320. Steiner, Rudolf, Goethe's World View, Chapter III The Phenomena of the World of Colors, 1897. Wittgenstein, Remarks on Colour, Berkeley and Los Angeles: University of California Press, 1978 ISBN 0-520-03727-8

ERGONOMICS Jan Dul and Bernard Weerdmeester, Ergonomics for Beginners - - A classic introduction on ergonomics - Original title: Vademecum Ergonomie (Dutch) -published and updated since 1960's Stephen Pheasant, Bodyspace - - A classic exploration of ergonomics Kim Vicente, The Human Factor Full of examples and statistics illustrating the gap between existing technology and the human mind, with suggestions to narrow it Donald Norman, The Design of Everyday Things - - An entertaining user-centered critique of nearly every gadget out there (at the time it was published) Liu, Y (2007). IOE 333. Course pack. Industrial and Operations Engineering 333 (Introduction to Ergonomics), University of Michigan, Ann Arbor, MI. Winter 2007 Wilson & Corlett, Evaluation of Human Work A practical ergonomics methodology. Warning: very technical and not a suitable 'intro' to ergonomics Wickens and Hollands (200). Engineering Psychology and Human Performance. Discusses memory, attention, decision making, stress and human error, among other topics Alvin R. Tilley & Henry Dreyfuss Associates (1993, 2002), The Measure of Man & Woman: Human Factors in Design A human factors design manual. Valerie J Gawron (2000), Human Performance Measures Handbook Lawrence Erlbaum Associates - A useful summary of human performance measures. Peter Opsvik (2009), "Re-Thinking Sitting" Interesting insights on the history of the chair and how we sit from an ergonomic pioneer

Authors address Ranko Skansi, MSc. LUMIGEA Bolnicka 34 F, 10090 ZAGREB Hrvatska (Croatia) priv. e-mail: ranko.skansi@zg.t-com.hr