Trip the light fantastic: The role of lighting festivals and events in urban design. by Cashel Francis Liam Brown

Trip the light fantastic The role of lighting festivals and events in urban design

MA/MDes Design [Lighting] Design Dissertation

Trip the light fantastic:

The role of lighting festivals and events in urban design

Cashel Francis Liam Brown 40178820 Tutor: Kirstie Jamieson August 2015

Cashel F.L. Brown | MA Design [Lighting]

Acknowledgements I wish to thank my tutor, Kirstie Jamieson, whose continued support and insight has contributed tenfold to the writing of this dissertation. Additional thanks go to Sonja Baksa at Lighting Urban Communities International (LUCI) and Mark Bremner and Lesley Thomson at Aberdeen City Council. Finally, I would like to thank all at the Jonathan Speirs Scholarship Fund for their continued support, without whom the successful completion of the MA Lighting Design programme at Edinburgh Napier University would not have been possible.

Trip the light fantastic: The role of lighting festivals and events in urban design

Cashel F.L. Brown | MA Design [Lighting]

Abstract

Over the last fifteen years, numerous cities across Europe and beyond are adopting light festivals and lighting events as way to ‘brighten up’ their urban surroundings during those ‘dark [winter] days’ (Brace, 2015). Currently, light and lighting are at the forefront of many concerns regarding urban development and economies. Lighting festivals serve numerous purposes to the cities that host them, contributing to branding and placemaking, tourism development, economic development and aspects of regeneration. This study aims to discuss the role lighting festivals and events play with regard to urban design and economies, therefore determining the value of these events and to whom the evaluation thereof is best placed.

Keywords: lighting, festivals, events, tourism, urban, design, culture

Trip the light fantastic: The role of lighting festivals and events in urban design

List of Figures Cover Image – Flickr User lenny-lennart. (2012). Luminale Frankfurt [Photograph] Retrieved from https://flic.kr/p/bVc9Cb Fig 0.1 - Flickr User evelyn@nuffadoo. (2015). Spectra-3 [Photograph] Retrieved from https://flic.kr/p/qnng8t Fig 1.1 - Romain Vernoux. (2014). La Seine II. [Photograph] Retrieved from https://flic.kr/p/pHLk3v Fig 1.2 - Flickr User Rog01. (2014). La Transumante. [Photograph] Retrieved from https://flic.kr/p/pfxYjo Fig 1.3 - Russell McGovern. (2009). Pleasance Courtyard. [Photograph] Retrieved from https://flic.kr/p/6STiSW Fig 1.4 - Photo Evenements 54 & Black Photo. (2013). Fête des lumières 2013. [Photograph] Retrieved from https://flic.kr/p/ jGoK6s Fig 1.5 - Arie Ellens. (2010). Inside the church@glow eindhoven. [Photograph] Retrieved from https://flic.kr/p/8VnrQv Fig 1.6 - Eatmylens Photographie. (2014). Lyon fete des lumieres Jacobin. [Photograph] Retrieved from https://flic.kr/p/ ppzX1N Fig 2.1 - Scott Young. (2007). Projections. [Photograph] Retrieved from https://flic.kr/p/49pGvW Fig 2.2 - Figure 2.5 – Bob Wilson. (2015). Spectra_1. [Photograph] Retrieved from https://flic.kr/p/rh6Pi2 Fig 2.3 - Roger Nilsson. (2010). Lights in Alingsås. [Photograph] Retrieved from https://flic.kr/p/8NzMm7 Fig 2.4 - Daniel Malmhall. (2010) Lights_In_Alingsas. [Photograph] Retrieved from https://flic.kr/p/8SR55U Fig 2.5 - Flickr User atomicjeep. (2008). V on colour. [Photograph] Retrieved from https://flic.kr/p/4HnSE1 Fig 2.6 - Flickr User UrbanUrban_ru. (2013). light-festival-ghent-29. [Photograph] Retrieved from https://flic.kr/p/gkB4Uc Fig 2.7 - Figure 2.6 – Flickr User derekuk2000. (2011). Lumiere Durham. [Photograph] https://flic.kr/p/aGwcW4 Fig 3.1 - Andrea Kirkby. (2009). Magic Carpet II. [Photograph] Retrieved from https://flic.kr/p/71CchA Fig 3.2 - Keith Ainsworth. (2014). Liverpool International Festival of Psychedelia 2014. [Photograph] Retrieved from http:// www.liverpoolpsychfest.com/zyne/liverpool-psych-fest-2014-gallery-friday/ Fig 3.3 - Kylie Johnston. (2008). Candles Two Dollars. [Photograph] Retrieved from https://flic.kr/p/4BRity Fig 3.4 - Flickr User Romain. (2015). 5_Shades_Of_Chartres. [Photograph] Retrieved from https://flic.kr/p/vBb7EW Fig 3.5 - James Preston. (2007). The Rushbearing procession arrives in Warley. [Photograph] Retrieved from https://flic. kr/p/3aezgC Fig 3.6 - Cyril Byrne. (2008). Solstice at Newgrange. [Photograph] Retrieved from http://apod.nasa.gov/apod/image/0812/ NEWGRANGE_ITIMES.jpg Fig 3.7 – Toby Donaldson. (2010). Enchanted Forest, Pitlochry. [Photograph] Retrieved from https://flic.kr/p/dfWmVK Fig 3.8 - Yee Kim. (2013). Ando Tadao - Ibaraki Church of Light. [Photograph] Retrieved from https://flic.kr/p/grRTM2 Fig 3.9 - Unknown. (1937). Speer’s Cathedral of Light, Nuremberg. [Photograph] Retrieved from http://www. museumsyndicate.com/images/6/56569.jpg Fig 3.10 - Catarina Heeckt. (2015). Whitecross – Westminster. [Photograph] Retrieved from http://blogs.lse.ac.uk/ impactofsocialsciences/2015/02/10/social-role-of-light-urban-design/ Fig 3.11 - Kai Friis. (2014). Enchanted Path. [Photograph] Retrieved from https://flic.kr/p/oMyaV5 Fig 4.1 - Flickr User Regarde là-bas. (2014). Convergences. [Photograph] Retrieved from https://flic.kr/p/pxqwWq

Cashel F.L. Brown | MA Design [Lighting]

Fig 5.1 - Flickr User Damien. (2013). Grid - Hôtel de région Christophe Bauder et White Void. [Photograph] Retrieved from https://flic.kr/p/i9fBQZ Fig 5.2 – SPECTRA Aberdeen. (2015). Droplets [Photograph] Retrieved from http://spectraaberdeen.com/wp_spectra/wpcontent/uploads/2015/07/droplets.jpg Fig 5.3 - Alan Longmuir. (2014). SPECTRA,Aberdeen Festival of Light,The Green 2014. [Photograph] Retrieved from https:// flic.kr/p/jQk3ve Fig 5.4 - Alan Longmuir. (2015). SPECTRA,Aberdeen Festival of Light,Union Terrace Gardens 2015. [Photograph] Retrieved from https://flic.kr/p/rgntWS Fig 5.5 - Flickr User atomicjeep. (2008). V on colour. [Photograph] Retrieved from https://flic.kr/p/4HnSE1 Fig 5.6 - Flickr User howbeg. (2007). Glasgow Cathedral during Radiance 2007. [Photograph] Retrieved from https://flic. kr/p/48VRp2 Fig 5.7 - Flickr User see-c. (2005). Ross Sinclair’s We Heart. [Photograph] Retrieved from https://flic.kr/p/6Yscq Fig 5.8 - Arie Ellens. (2010). Inside the church@glow eindhoven. [Photograph] Retrieved from https://flic.kr/p/8VnrQv Fig 5.9 - Freek van den Bergh. (2010). GLOW Eindhoven 2010. [Photograph] Retrieved from https://flic.kr/p/8TgkvP Fig 5.10 - Gerard Stolk. (2011). GLOW Eindhoven Stationsplein EXPLORE. [Photograph] Retrieved from https://flic.kr/p/ aD5Pf7 Fig 5.11 – Lyon Fête des Lumières. (2014). Cathédrale d’eau et de lumière. [Photograph] Retrieved from http://www. fetedeslumieres.lyon.fr/fr Fig 5.12 - Cedric Guerra. (2014). Lyon, Basilique Fourvière, Fête des Lumières. [Photograph] Retrieved from https://flic.kr/p/ qVqi4g Fig 5.13 - Cedric Guerra. (2014). Lyon, Fête des Lumieres, Panoramique Quai de Saône. [Photograph] Retrieved from https:// flic.kr/p/qCZA22 Fig 6.1 – Reinier ter Beke. (2012). GLOW Eindhoven 2012. [Photograph] Retrieved from https://flic.kr/p/dt8E3m Fig 6.2 – Jeff Bussiere. (2012). Fête des Lumières 2012 - Les champignons de la place Satonay. [Photograph] Retrieved from https://flic.kr/p/dz12Zs Fig 6.3 – Flickr User im@n. (2014). “Innocent body” by “ Roland Schimmel”, Glow 2014, Eindhoven. [Photograph] Retrieved from https://flic.kr/p/pKD88S Fig 6.4 – Flickr User Paradasos. (2005). 000_3006: Glasgow Radiance 2005. [Photograph] Retrieved from https://flic. kr/p/71NyD Fig 6.5 – Aberdeen City Council. (2014). SPECTRA Aberdeen 2014. [Photograph] Retrieved from http://files.stv.tv/ imagebase/322/650x366/322344-spectra-festival-of-light.jpg Fig 6.6 – Flickr User biotron. (2005). radiance 6 - south portland street footbridge. [Photograph] Retrieved from https://flic. kr/p/73EvW

Fig 7.1 – United Visual Artists. (2007). Triptych; Paris Nuit Blanche. [Photograph] Retrieved from https://united-visualartists.s3.amazonaws.com/uploads/bfe51e83-8bc3-4205-a293-9468f57acebd/Triptych_06_full.jpg Fig 8.1 – Barbara Walzer. (2014). Luminale 2014 / Metamorphosen-Lesung zu Licht und Musik (2). [Photograph] Retrieved from https://flic.kr/p/mJQH4E

Trip the light fantastic: The role of lighting festivals and events in urban design

Cashel F.L. Brown | MA Design [Lighting]

Contents Page Acknowledgements

Abstract

vii

List of Figures

viii

Introduction

Chapter I - Lighting Festivals as Urban Destination

Chapter II - Art or Tourism?

Chapter III - Light as the Producer of Temporal Space

Chapter IV - Methodology

Chapter V - Case Studies

Chapter VI - Discussion

Chapter VII - Conclusion

Bibliography

Trip the light fantastic: The role of lighting festivals and events in urban design

Introduction In the depths of winter, as the long nights draw in; when the roar of a fire in your own home deems itself much more appealing than the cold, blustery weather that persists outside, a trend of events has emerged. Over the last fifteen years, numerous cities across Europe and beyond are adopting light festivals and lighting events as way to ‘brighten up’ their urban surroundings during those ‘dark [winter] days’ (Brace, 2015). From Alingsås, Sweden to Sydney, Australia, it seems that with every passing year, Light Nights and Lighting Festivals are taking place in more major cities across the globe. Light, by its’ very nature is a temporal medium, changing with time, with those that view and interpret it, and with surface upon which it strikes. This makes it difficult for one to fully understand or evaluate its’ successes or failures. The role light maintains in the production of space and place is one of great importance. Within the context of urban planning and design, lighting, or rather good lighting, can serve a variety of purposes. Its’ function, be it in demarcating destination, branding or enhancing the built environment, proves intrinsically valuable in generating ‘vitality and improv[ing] ambience’ (Glasgow City Council, 2007a) in any given area. Light, and its contribution to a ‘sense of identity and place,’ (GCC, 2007a) plays a leading role in current urban design practices, with an overall aim to contribute to the perception of safety within the urban landscape. Similar to the medium which inspires and creates them, temporal lighting events prove difficult in their evaluation of successes or failures. Recent studies on the topic of temporal lighting, lighting festivals and events such as the Nuit Blanche brand, have primarily focused upon aspects of tourism, place branding and the economic benefits of such events (Evans 2012; Jiwa et al, 2009; LUCI, 2011; LUCI, 2012). With a focus upon quantitative data, the success of events such as Lyon Fêtes de Lumières can be attributed to attendance rates, visitor expenditure and levels of media coverage. Thus, a qualitative, experience based assessment has been neglected. This study endeavoured to deliver such an assessment. However, at the time of writing, an ethnographic, experience led account of the varying festivals and events was not possible. Currently, light and lighting are at the forefront of many concerns regarding urban development and economies. As stated above, light in urban environments can serve many purposes, and many cities are aligning themselves as ‘cities of light;’ pioneers in lighting urban environments; developing new, sustainable technologies and utilising temporal lighting events as way of testing these, creating new innovative solutions for urban lighting. It is in this line of enquiry that this study takes interest; the role of the lighting festival to their host cities. Lighting festivals serve numerous purposes to the cities that host them, contributing to branding and placemaking, tourism development, economic development and aspects of regeneration. This study aims to discuss the role lighting festivals and events play with regard to urban design and economies, therefore determining the value of these events and to whom the evaluation thereof is best placed. How does one evaluate such events and to whom does the benefit lie within the context of prevailing urban discourses? Fig 0.1 - Droplets; SPECTRA Aberdeen 2015

13 Trip the light fantastic: The role of lighting festivals and events in urban design

Chapter I - Lighting Festivals as Urban Destination

“The illumination of modern cities has transformed nocturnal experience, producing cityscapes of regulation, hierarchical selectiveness, consumption, fantasy and imagination.” (Edensor, 2012)

When one reads the term ‘City of Lights’, more often than not, an image of Paris is conjured. Historically Paris is attributed as such, due not only its self-consciously modern spaces of 18th century conspicuous consumption, but also to its positioning as intellectual centre during the Enlightenment. Indeed, within a European context, at this time a

“consistent and reliable street lighting had been established…” whilst throughout Europe, monarchs were adopting contemporary technology to produce spectacle to “bedazzle subjects…and challenge[d] religious power.” (Edensor, 2012)

As Edensor suggests, this “nocturnalisation of spectacle” and “new willingness to deploy and manipulate darkness and night” framed Paris (along with London, Hamburg and Amsterdam) as pioneer to new lighting technologies, “opening up the night to broader, more diverse spacemaking social practices” (Edensor 2012). However, this image of 18th Century Paris is highly romanticized invoking as it does a hub of civilized urban culture. Currently, a number of contemporary cities can claim the mantle ‘Cities of Light’; Lyon, Eindhoven, Alingsås, Glasgow to name a few. Considered to be at the forefront of urban lighting strategies and technologies, these cities increasingly use lighting design to demonstrate new ways of lighting public space; through masterplanning methodologies; development of emergent technologies; participative engagement of designers and artists; and event strategies. It is with the latter temporal emphasis where this study develops a line of enquiry, the lighting festival. Over the past twenty years or so, there has been a pandemic in urban cultural events and festivals taking place across towns and cities worldwide (Davies, 2015; Eizenberg & Cohen, 2015; Evans, 2012; Jiwa et al, 2009). More increasingly within the last decade, a number of cities have invested in the production of a lighting festival.

Fig 1.1 - Paris at Night

15 Trip the light fantastic: The role of lighting festivals and events in urban design

Originating in Paris in 2002, the Nuit Blanche brand of events represents a considerable portion of lighting events and festivals worldwide. The model of events takes the form of an all night, arts and culture event, based upon the White Nights and Long Nights at the Museum founded in St Petersburg and Berlin in the late 1990s (Evans 2012; Jiwa et al, 2009). Initiated to make the arts accessible to all, Nuit Blanche uses the host cityscape as an outdoor gallery of sorts. Nuit Blanche and late night events have emerged as a distinct genre or typology within the context of urban cultural festivals (Evans, 2012). The success of Nuit Blanche events, in a number of cities, including Paris and Toronto has lent precedent to many cities, in the hosting of Light Nights and Nuit Blanche styled events. With a rise of the light festival as event typology, cities want to distinguish themselves as exemplary. We might align this type of festivalized distinction with the increased competition between cities in an increasingly ‘globalised economy’. This context of inter-urban competition has meant that local government and administrative bodies vie for individuality, in an attempt to develop brand identities. More and more local government bodies are embracing culture and festivity as a primary tool in urban strategies, branding and placemaking (Eizenberg & Cohen, 2015). Culture led initiatives are today standard options for town and city officials, in terms of tourism development, urban regeneration and the economic development of cities. Cities such as Edinburgh have branded themselves over the last half century as ‘festive cities,’ with the International and Fringe Festivals, taking place in August; only a fraction of the cities festive and Fig 1.2 - Paris Nuit Blanche cultural calendar. The festivals are said to generate ‘over a quarter of a billion pounds’ worth of tourism revenue for Scotland, with the vast majority centralized in Edinburgh, in addition to the existing tourism industry in Scotland (Edinburgh Festivals Impact Study, 2011). In particular, during its’ month long stay in the city, the Edinburgh Fringe brings with it a sense of unbounded revelry; comedy and theatre venues pop up in buildings both occupied and abandoned, bringing a new zest to the city; bars and the revelry within seep from unexpected places and sprawl across the city’s urban fabric. Visitors, performers and residents alike comport themselves to new models of behavior, adapting to less restrictive licensing laws. Edinburgh University becomes unrecognizable; a

Cashel F.L. Brown | MA Design [Lighting]

giant purple cow acts as a comedic mecca in front of McEwan Hall, where this author started and finished his undergraduate career. The city becomes re-enlivened with conversations from across the world. Street performers shout over the onlooking masses. One cannot roam the streets without receiving a flyer promoting another ’five star’ comedy show. The city buzzes with life; with more than just tourism. The wider impacts of such festivals are associated with the symbolic economy and the perception of the cities which host them; the above study suggests that the ‘specialness’ of Edinburgh as a city is highly influenced by visitor perception as a ‘festive city,’ ignoring other aspects of the city’s attraction, such as it’s impressive architectural heritage. However, the success Fig 1.3 - Pleasance Courtyard - Edinburgh Festival Fringe of Edinburgh’s festivals owes as much to the city’s urban fabric, as it does to the extensive programme of comedy, arts and theatre. Without the university’s extensive portfolio of accommodations, many of the prominent branded venues of Edinburgh’s Festival Fringe; Underbelly, Gilded Balloon, Pleasance; would not have a home. Indeed, Pleasance owes as much to its namesake in terms of branding as it does to the comedians that occupy its spaces throughout August. Without the University’s Student Union Building which houses the production company each year, the Pleasance brand which has become synonymous with comedy, both in Edinburgh and London would not exist. (MacLeod, 2006) Edinburgh’s built form is integral to the wider concerns of Edinburgh’s summer festivities. Similarly, the attraction of Lighting Festivals such as Lyon’s Fêtes de Lumières are seen as models of tourism development, economic development and urban regeneration. As with other types of urban festival, the rise of the light festival as urban destination can be attributed to a number of factors. As Davies suggests, the number of festive events taking place in cities across the world has risen significantly since the 1950s. Attributed to an increase in discretionary income, and the rise of the ‘leisure class,’ urban events are thriving due to an increased population mobility and a willingness to spend money on leisure activities. The origins of such festivals can be varied, ranging from a revived interest in local heritage or tradition to newly created events. In the context of lighting events, the variation of events is 17 Trip the light fantastic: The role of lighting festivals and events in urban design

distinguished by their organisational rationale and motives. These are discussed further in Chapter Two, and range, again, from the revival of local tradition (Lyon’s Fêtes de Lumières) to educational workshops (Lights in Alingsås) and curated art endeavours (Lüdenscheid’s LichtRouten). Events such as these serve a dual purpose in their organisation; they are seen as stimulating to culture, igniting pride and excitement in the local population, whilst also demonstrating ‘deliberate attempts to improve the local image[s]’ in an increasingly competitive and globalized economy (Davies, 2015).

A (brief) history of lighting festivals

Although many historical and heritage based events are considered ‘festivals of light’ (the Hindu Deepavali festival for example), this study focuses upon contemporary lighting festivals and their current form. Arguably the most well known, and considered to be longest running, is Lyon Fêtes de Lumières. With origins in local tradition, the festival’s current incarnation has over the last two decades ‘mutated into an outstanding urban event’ (Lyon Fêtes de Lumières Website) drawing local and international visitors alike. From a modest start celebrating the lighting of the city from 1889, the festival has grown to become a premier model for aspiring host cities to compare their events and take influence. Unlike Fetes de Lumières, most contemporary lighting events have originated within the last fifteen years. This trend for new lighting events can be attributed to a number of factors. Lyon’s success as a city of light and model event has set a bar for other cities to measure themselves against. As such, in a competitive and somewhat saturated market, each city strives for a uniqueness in Fig 1.4 - Fêtes de Lumières, Lyon their event. Paris’ Nuit Blanche, originating in 2002, aimed to set itself apart from the Long Night at the Museum model present in some European cities in the late 1990s by using light and an all night event as a unique selling point. Rather ironically, the Nuit Blanche brand of events has now been adopted by numerous cities throughout Europe, and inspired Light

Cashel F.L. Brown | MA Design [Lighting]

Night events throughout the UK. As such, events such as the Pink Night Festival, launched in 2006, have tried to distinguish themselves from similar events, notably with a change of colour (white to pink) as well as incorporating a number of additional events to reaffirm the perception of the Romagna Riviera’s positioning ‘‘in the world of nightlife and fun’’ (Evans, 2012). According to Evans, the distinction of the Pink Night Festival from other events is in its’ scale and locale. Pink Night takes place across the whole of the Romagna coastal region, rather than individual towns and cities within. Secondly, developments in current lighting technologies can be seen as cause for an increase in the number of associated festivals and events. Shifts from incandescent and halogen lighting to advanced LED technologies and projection techniques have meant the ‘structure and content’ of lighting festivals have changed dramatically over the past ten years (Schielke, 2013). According to Schielke those host cities that harness these new technologies can move from a ‘tradition’ of architectural lighting, to creating rich narratives and story telling through the medium of light and projection (Schielke, 2013). Although this development in technology and technique can set apart a city’s light festival from others, a risk of homogeneity and repetition is present, with many festivals and Nuit Blanche events closely resembling and emulating one another. Furthermore, the development and promotion of new technologies has seen an increased involvement of lighting manufacturers in festivals and events. Fêtes de Lumières, GLOW, and Frankfurt’s Luminale involve partnerships with industry figures such as Philips in sponsorship, logistics and promotion of their events. Additionally, the popularity of such events in the last ten years can be closely linked to the attendance and media coverage of previous events. Many cities are now incorporating lighting events into their cultural calendar having seen the successes of others. Eindhoven’s GLOW festival was initially organised as a corresponding event to LUCI’s AGM, with a want to align the city with other ‘cities of light’ such as Lyon. Similarly, the trend for Light Night events

Fig 1.5 - GLOW, Eindhoven

19 Trip the light fantastic: The role of lighting festivals and events in urban design

across the UK is linked intrinsically to the success of Nuit Blanche branded events in Europe and further afield (Evans, 2012). According to LUCI (2011), the increase in occurrence of lighting events and festivals can also be attributed to two other factors; the growth of night time economies in urban centres over the past two decades, and an increase in urban tourism. Evans’ 2012 study into Nuit Blanche and all night events in city centres cites a trend of extended opening hours and night time visitor activity as a context in which to consider events of these types. As discussed by Lam and Schwendinger (2015), the concept of ‘evening temporalness’ is dictated by a shift towards the 24 hour city, which has developed for a number of reasons. Distinctly affected by the organisation of evening and late night events, the rise of a ‘leisure class’ and a trend for ‘late night consumption,’ the night time economy (NTE) in many urban centres is increasingly becoming a viable source of income for host cities. In the UK for example, the NTE represents twenty seven per cent of total urban turnover. (Lam and Schwendinger, 2015) With this boom in NTE and increased social consumption, the perceptions of these areas as centres for anti-social behavior, excession and debauchery have deemed the city centre as unapproachable or inhospitable to those that do not approve or fit with the demographic (those frequenting drinking establishments) using city centres as a playground (ATCM, 2014). An increase in evening, late night and all night events are seen as reactionary to this trend, allowing urban centres to be ‘reclaimed’ by persons who would normally avoid them during twilight hours (Evans, 2012). This trend for an expansion of the NTE to include cultural events, including lighting festivals amongst theatres, restaurants, bars and concerts, leads to a perception of benefits, from regeneration (often referred to as an ‘improvement in vitality’ of any given area), to an increase in jobs, visitors and residents utilizing these city centre spaces beyond dusk. If we follow LUCI’s analysis we might consider ‘urban tourism’ in more experiential terms wherein distinct types of affective space are sought. For instance the author argues that a new demographic of tourist exists; those seeking affective, personal and lived experiences; revealing new challenges for host cities, along with new expectations for the tourist themselves. With a want to explore urban centres, the urban tourist’s expectations are ‘no longer limited to a desire for heritage.’ (LUCI, 2010) There is an appetite to seek out areas of ‘shared social activity’ and ‘authentic contacts and experiences.’ This new appetite for shared,

Cashel F.L. Brown | MA Design [Lighting]

‘emotional and human’ experiences creates need for towns and cities to organize events that demonstrate new ways of perceiving the city, both for the tourist and those local to the area It is within this new category of ‘designed tourist experiences’ where lighting festivals and events such as Nuit Blanche find themselves situated as affective orders of temporalized space. With the new expectation of experience, there is a ‘rise in the desire to experience the night differently’ (LUCI, 2010) which leads host cities to incorporate new lighting, landscaping and events architecture into their planning and tourist policies. In essence, host towns and cities are selling their urban centres as exciting, experience based destinations, within which new night time perceptions and experiences are created and shared amongst resident and visitor. The perceived benefits of this new urban tourism lead to investment and regeneration initiatives, as well a distinct contribution to the night time economy. The opportunity to experience the city at night, from a fresh perspective, is prime example for the current trend for lighting events and festivals worldwide. This chapter has explored a recent trend in lighting festivals and events across the world. Lighting festivals, Nuit Blanche and Light Night events are a popular choice when cities and municipalities consider aspects of branding, place identity, tourism development and economic development. As an offshoot of typical festival activities, the perceived benefits of lighting festivals can be attributed across a number of platforms; community, economic, tourism to name a few. Lighting festivals such as Lyon Fêtes de Lumières may be organised for a number of reasons relating to the above, however ultimately serve a dual purpose; stimulating the culture and feel of a place, whilst aiming to distinguish host cities from their peers.

Fig 1.6 - Fêtes de Lumières, Lyon

21 Trip the light fantastic: The role of lighting festivals and events in urban design

Chapter II - Art or Tourism Lighting festivals and events are multifaceted in nature, often involving numerous stakeholders in their organisation. Two key aspects to the success of these festivals are the quality of the artworks represented, and the role these artworks and events play in the development of tourism. This chapter questions if these two factors, art and tourism, are mutually exclusive; or, are festivals and events of this type a complex relation of both. By defining lighting event typologies, the motives of the host city are questioned. As such, the importance of artistic quality, and tourism motivations are brought to light. The chapter then discusses light with regard to both factors. In considering lighting festivals and events with regard to urban economies and design, it is important to note the motivation of town and city councils in the organisation of such events. Recent studies (Jiwa et al, 2009; LUCI 2011, 2012; Pearce 2013) have considered lighting festivals, Light Night and Nuit Blanche events against a backdrop of tourism, economic and cultural development in cities hosting these events. These studies maintain that overall, events of this type contribute positively to those parameters, with visitor numbers, return of investment and social indicators such as local contribution to volunteering initiatives being valuable indicators of the positive impacts of such events. In addition to these, further cultural impacts considered to play certain role in the organisation of such events include the positioning of light art and lighting design as a credible discipline, playing part in demonstrating that ‘…light is a creative medium…’ (Mark Major, quoted in Pearce, 2013). Major does not discount the social and economic benefits; however places emphasis upon light as an art form within the context of lighting festivals, events and urban design. Thus, in the consideration of lighting events and their wider role in the urban landscape, the question of light as artistic practice in contrast with light as tourism development tool must be addressed; in other words questioning the purpose and motivations of lighting festivals and those that organise them.

Fig 2.1 - Radiance Festival, Glasgow

23 Trip the light fantastic: The role of lighting festivals and events in urban design

Event Typologies and Rationale for Host Cities

As with other kinds of urban festivals, a variety of ‘festival typologies’ exist under the umbrella term of ‘lighting festival.’ Interestingly for the purpose of this study Davies research of the ‘festive city’ (2015) identifies six distinct event typologies, based upon historical and contemporary characteristics. These can be briefly summarised as follows: -

Temporal events; historically linked to the changing of seasons, harvests etc;

Events attributed to religious belief; linked to an associated religion, e.g. Saint’s Days;

Events associated with political allegiance; historically linked to monarchs or secular leaders, celebrating political solidarity or history of State;

Traditional or heritage events; rooted in local tradition, distinct from the typologies above. Many contemporary festivals may use previous tradition as a rationale for their organisation;

New cultural events; contemporary festivals with some aspect of ‘culture’ as the rationale for organisation; often relating to artistic endeavours (music, arts festivals etc.) or the celebration of a ‘way of life’ relating to a certain locale;

Lifestyle festivals; relating to the modern emancipation of those once marginalised by societies, a celebration of distinctiveness. (Davies, 2015)

As with the wider context of urban festivals, event typologies are useful in considering the multi-faceted nature of lighting festivals. The typology of lighting events can give rise to organisational rationale, and in turn contribute to the above question. Initially, lighting events can be broken into two umbrella terms, under which further typologies can apply; -

Lighting Events and Festivals

Lighting festivals and individual events are usually characterised by their temporal and recurring nature; they are regular events, usually repeated annually, biannually or biennially; they vary in duration, from a few days (Eindhoven GLOW, Lyon Fêtes de Lumières, Glasgow Radiance…) to many months (Chartres en Lumières…); and vary greatly in terms of size. Lighting festivals can cover one site; as with the case

Cashel F.L. Brown | MA Design [Lighting]

Fig 2.2 - SPECTRA Aberdeen Festival of Light

of Aberdeen’s SPECTRA Festival, concentrated mainly in the city’s Union Terrace Gardens; or they link numerous sites across the city; the lighting festivals in Eindhoven and Lyon link many sites or installations by way of predetermined routes, to influence visitor experience of the city at night. (LUCI 2011) -

Light Nights/ Nuit Blanche

Light nights tend to encompass art events that take place at night, often involving a number of cultural institutions opening late and offering free entry, effectively turning a city centre into a living art gallery for the evening. In the UK, cities such as Liverpool and Leeds, in conjunction with the Association of Town Centre Managers have organised such events, which to an extent replicate the Nuit Blanche/Notta Bianci branded events adopted by European cities such as Paris and Rome, as well as international cities. (LUCI, 2011; Jiwa et al, 2009.)

A third category of event, Late Nights at the Museum, can also be considered. As stated in Chapter One, these late night cultural events were popularized in Berlin in the late 1990s, providing model for Paris’ inaugural Nuit Blanche event, although this chapter would be remiss in neglecting the Late Nights… as an event category in its own right. The Late Nights… model of events has proven a successful endeavour throughout Europe, with UK cities such as Edinburgh, London and Leeds adopting the trend of events to promote the arts to new audiences, whilst also influencing the emerging occurrence of Light Night events across the UK (Jiwa et al, 2009; pmpgenesis, 2009; Thalund, 2010). However, these events tend not to be exclusively ‘lighting events,’ although similarly associate themselves with new ways of viewing and using cities and their resources at night.

25 Trip the light fantastic: The role of lighting festivals and events in urban design

Further event typologies are defined by the rationale for organisation, or the reasoning for which their first festival was organised. Although not an exhaustive list, a number of key event typologies are outlined below; -

Historical or heritage based festivals;

Some contemporary festivals and events cite historical origins as primary rationale for organisation. Lyon Fêtes de Lumières “extends the traditional festival… when the residents of Lyon celebrate[d] the Virgin Mary” by placing lit candles upon their windowsills and wandering the city to the Basilica of Fourviére. Similarly, the roots of Lichtjesroute, Eindhoven are based historically in the commemoration of freedom following the Second World War;

Festivals with strong industry and trade ties;

Some festivals claim industry and trade links as organisational reasoning. Since 2002, Luminale in Frankfurt has been organised biennially, as a complimentary event to the ‘Light+Building’ trade fair in the city. The basic premise was that those that attended the trade fair would attend the festival. However, in practice, the Luminale event is attended by a larger audience (Bettina Pelz, interviewed by Schielke, T. 2013); - Educational events; Sweden’s Lights in Alingsås origins lie in an educational programme, where students learned about exterior lighting from industry professionals. The projects completed as part of the one week workshop are then displayed to the public, in combination with a number

Fig 2.3 - Lights in Alingsås

of performances, classes and guided tours of the city;

Curated art events;

Although maintaining strong industry links, Lüdenscheid’s LichtRouten is a curated arts event, with two curators selecting light based artists and installation across the city, at both macro and micro scales. The festival promotes international light artists and lighting designers by presenting interventions in public space on a national scale;

Cashel F.L. Brown | MA Design [Lighting]

Festivals started by tourism or economic initiatives.

One may argue that events such as Light Nights and Nuit Blanche fall into this category, with primary rationale for boosting the night time economy through cultural initiatives.

Light as a tool for tourism development

“Through its’ capacity to develop the attractiveness of city nightscapes and have a global influence on the city’s identity, lighting represents a real opportunity in terms of tourism strategy”

Christian Mantei, CEO, Atout France/ Allan Stewart, President, LUCI (LUCI, 2011)

Considering the role lighting, and lighting festivals play in tourism development, the

rationale of the organising bodies’ funding support and investment might suggest that the instrumentality of light festivals belongs to a distinct neoliberal paradigm of urban planning wherein the branding of identity, place-making strategies and tourist-oriented temporalities are key to urban development. To cite an example, the city of Alingsås, Sweden represents a municipality and community that have ‘embrac[ed] an urban lighting culture’ (Wallace, 2005). Initiated at the turn of the Millennium, Lights in Alingsås claims to be the largest event featuring ‘’experimental illumination of public place’ taking place in northern Europe. Wallace’s 2005 presentation to the Illuminating Engineering Society of Fig 2.4 - Lights in Alingsås Australia and New Zealand (IES) General Meeting utilises Lights in Alingsås as a case study to highlight the role light plays in the civic identity and urban development of its host city. With urban lighting and the light festival as central theme to the city’s urban development strategy, a number of measurable outcomes have been achieved. Most notably, prior to the festival taking place annually, the population of Alingsås numbered around 20,000 27 Trip the light fantastic: The role of lighting festivals and events in urban design

people (Schielke, 2013). With the growing popularity of the festival, and the perception of Alingsås as a ‘city of light,’ the municipality noted a 3% population increase in the festival’s formative years (Wallace, 2005). Thus, an increased investment in the area brought with it new urban development to accommodate the increase in population. By incorporating lighting into its public realm and urban development plans, the city of Alingsås has branded itself as an experimental ‘city of light.’ As such the wider ramifications of urban and tourism development have been measured in an increase in local population, as well as an increasing number of festival attendees year upon year.

Rationale for Host Cities – More than tourism?

Whilst lighting event and festival typologies allow us to understand emerging categories and their rationale; the festivals themselves may belie such easy categorisation and may not exclusively occur for reasons of tourism development. Arguably the largest, Lyon’s Fêtes de Lumières attracts visitor numbers of 3,000,000 plus, with roots in local tradition. Although not initially started as a touristic endeavour, it is hard to put Lyon in the same category as Alingsås’ light festival, effectively a workshop which is opened to the public. In the same vein, Alingsås can be considered to have some form of tourism interest, with workshop participants and ‘festival’ visitors affecting some aspect of the city’s economic and urban development. A key note here is the extent to which tourism is considered in the organisation and development of these events. One may argue that the purpose of these events is the development of tourism in a given area. However, this may not be the sole reasoning for their occurrence and instead an indirect result. Glasgow’s Radiance Festival, for instance, was organised as part of the city’s lighting strategy, with core aim of altering local population’s perceptions of Glasgow by night. Of an estimated 62,000 visitors in 2007, almost two thirds were local to Glasgow, with only 1% of visitors travelling further afield than Scotland. (LUCI, 2011)

Fig 2.5 - Radiance Festival, Glasgow

Cashel F.L. Brown | MA Design [Lighting]

LUCI’s 2011 study attributes the success of these events with factors intrinsically linked with tourism. Visitor numbers and expenditure contribute significantly to their success, with funding applications for consecutive years based upon these types of data. Furthermore, the promotion of events in media and marketing literature align some lighting festivals with a clear tourism objective. Many events consider lighting as way of branding or altering perceptions of their host cities at a given time. The modern incarnation of Fêtes de Lumières for example, although historically linked, was crafted as a way to attract people to Lyon in the winter months, considered a slump in the city’s tourism calendar. The introduction of light in December was considered to alter perceptions of Lyon as a dark, gloomy destination in the midst of winter (LUCI, 2012; FdL website). Similarly, Ghent’s lighting festival is considered ‘key product’ in the city’s tourism strategy, with a want to position Ghent as a ‘young, vibrant and creative city’ (LUCI, 2011). Lighting festivals and events are increasingly being incorporated into the policies and tourism strategies of host cities. The benefits of such events in tourism ‘downtimes’ are considered to overcome ‘weaknesses’ in tourist initiatives, incorporating the needs of both local and international audiences. Fig 2.6 - LichtFestival Gent

Light as artistic practice

“I am not a lighting designer, I am a painter… I use light…as a means of artistic expression… It is not a technical approach… rather an artistic reflection materialised through writing based on a scenario…My work is narrative…expressing the significance of the places I deal with.”

Xavier de Richemont, Designer, Chartres en Lumières (LUCI, 2011)

29 Trip the light fantastic: The role of lighting festivals and events in urban design

As discussed above, lighting festivals are not necessarily tourism events, albeit tourism is a considered factor in the organisation of such events. Of equal importance to their success, then, is the quality of the installations, performances and artworks that make up the wider festival. Bettina Pelz, curator of Lüdenscheid’s LichtRouten states that the success of these events is ‘easy,’ as ‘people do come’ when something is done ‘with light in cities in the night’ (Schielke, 2013). This evaluation is an oversimplification of the complex measures by which these events typologies are evaluated. Event organiser and stakeholders maintain that the successes of these events are evaluated via numerous methods; assessment of visitor numbers, revenue generation, aspects of tourism development and community engagement (LUCI, 2011). Additionally, an attribute of success is the level of media coverage gained by the events, and as such, their host cities. Aberdeen’s SPECTRA Festival attributes an increase in media coverage in the lead up to their second edition as partially responsible for the perceived success of the festival. Media coverage, furthermore, is increasingly being used as evaluation method to a host of lighting festivals (LUCI, 2011). A key indicator for a ‘good’ event for Pelz (Schielke, 2013) is the repeat visit, be it in the same or consecutive years. However, a number of candid reviews of these types of events on social media suggests, that to assess quality is too much of a subjective endeavour. As such, a number of festivals align themselves with the identity of ‘arts festival,’ often involving curators such as Pelz from the outset to assure a certain standard of artworks, from both national and international artists. Following the success and public feedback of the first edition of SPECTRA, Aberdeen City Council employed Curated Place, an arts led production company, to expand and improve upon their first years experiences. Curated Place worked with artists from a number of Scandinavian and European countries to promote Aberdeen, the artists themselves and ‘creativity in spectacular fashion’ (Curated Place Website, 2015). Comparably, the involvement of artists and curators in an organisational capacity is a feature in a variety of lighting events and festivals. Both Lyon and Chartres feature artists as project leaders, often using the lighting festivals as a trial run for permanent installations and projects. Like SPECTRA, Durham’s Lumiere utilises a production company, Artichoke, to ensure a high standard of event.

Cashel F.L. Brown | MA Design [Lighting]

To summarise, it is difficult to separate the various aspects of what makes a ‘good’ lighting event or festival. Here, both light as Light as a tool for tourism development and Light as artistic practice are intrinsically linked, equally contributing to the success of these types of events. As with different genres of urban festivals, quality of the ‘line-up’ or programme is a definitive factor, without which the festivals could not exist. Similarly, the incorporation of lighting

Fig 2.7- Durham Lumiere

festivals within a larger tourism strategy is considered beneficial to organising bodies, as the wider ramifications of visitor numbers and investment contribute largely to the economic development of host cities and regions. Furthermore, the investment in the local region contributes to the longevity and repetition of the lighting events. Artistic practice and tourism are inseparable for the success of lighting festivals and events.

31 Trip the light fantastic: The role of lighting festivals and events in urban design

Chapter III - Light as the Producer of Temporal Space This chapter discusses light as a temporal medium, as producer to space and place. Citing religious and secular examples, the role of light within ritual is used as a basis for discussion upon (light) festivals as ritual themselves, with additional focus upon the role light festivals and the production of spectacle play in the disruption of the everyday and ‘reenchantment’ of the disenchanted. To the contemporary reader, the advent of lighting festivals can seemingly be attributed as an adjunct to the cultural planning model of urban development and project-led design, wherein an increased number of light themed events are added to the calendar year after year. However, the association of light with festivity as a means of ‘enchanting’ crowds has been a mode Fig 3.2 - Enchanting Spaces: Liverpool International of marking time and place for centuries. Festival of Psychedelia Edensor (2015) suggests it is this ‘enchantment’ which sets lighting ‘festive atmospheres’ and lighting events apart from other typologies of urban festival. Light as a means of producing, ephemeral and temporal spaces, plays an important role in the construct of ‘festive atmospheres’ and the production of places as destinations, both contemporarily and historically. Light and festivals are as this chapter will argue therefore inseparable. According to Edensor, light (and dark) possess unique qualities that make them one of a ‘host of constituents’ (2015) that contribute to the making of ‘atmospheres.’ Such a reading of atmosphere encourages us to identify the sensory aspects of space as ‘flow[ing] as a sequence of events’ rather than experienced individually. Edensor cites weather, temporality, sound, architectural form and interactions with others, as well as light and dark, as factors in the construction of atmospheres. This list, however, is non-exhaustive, and the creation of atmospheres can be subjective both individually and culturally. The increasing attention given to the ephemera that produces ‘atmosphere’ is prevalent amongst those architects and designers that describe their work as phenomenological. Peter Zumthor is such an architect and attributes atmospheres to ‘perc[eption] through our emotional sensibility,’ (2010) in which light (artificial and natural) plays a defining role. ‘ Fig 3.1 - Magic Carpet: Chartres en L:umieres

33 Trip the light fantastic: The role of lighting festivals and events in urban design

Light and ritual

According to Zumthor (ibid) the light on things’ maintains a ‘spiritual quality,’ to which a sense of the ethereal, beyond earthly boundary and understanding belongs. As such, we might identify light as having a sustained relationship with celebration and ritual throughout history, both within the realms of formal religious ceremony and more secular celebrations. Light is a central theme to many religions, performing a multitude of functions; symbolic, dedicative and memorialising. In Christianity, light is both symbolic of the higher power [God, the ‘lightbringer’ and Christ the ‘light of the world’ (Edensor, 2013)] as well as metaphorical for man’s trials and tribulations with religion. Edensor too emphasises the role or light (and darkness) in religion as ‘encapsulating the religious struggle towards the light [god, heaven] and the path from earthly gloom to the illuminated afterlife,’ with further metaphor of light attributed to the ethereal, ‘inexpressibility of the divine’ (Edensor, 2013). Similarly, Hinduism sees light as symbolic of Lord Rama, with the Deepavali Festival and the lighting of lamps seen as symbolic of Rama’s defeat of Evil. With these events, as well as the daily practice of ‘saanjh dena,’ the ‘evening giving’ of lamps and lit offering to a multitude of deities, light takes on a dedicative quality, whilst also reflecting the defeat over ‘evil’ (Kumar, 2015). So too in Christianity does light take upon a symbolic, dedicative quality. Particularly in the Catholic Church, votive candles are lit to represent the ‘Light of God,’ or dedicated to a particular saint, often in the asking of favour. Furthermore, these votive lights take a memorializing role, often to a loved one passed. The role of light in religious ceremony is further ‘cemented’ in the harnessing of natural light in religious building. The vast plays of natural light present in Gothic cathedrals, such as Chartes or Durham, emphasize the connection to a higher power, often shining through stained glass windows depicting stories of Christian significance.

Cashel F.L. Brown | MA Design [Lighting]

Fig 3.3 - Votive Candles; St Patrick’s Cathedral, NYC

There is then a historical lineage in the cultural codes of light and darkness and this is most evident in the embodied architecture of ‘divine’ spaces where specific lighting constellations create temporal spectacles. Interestingly, these architectural centres of religious ritual continue to figure as central spaces in contemporary light festivals. Chartres en Lumières, for example, centralizes its lighting festival around its historic cathedral, responsible for much of Chartres’ tourism industry. Chartres en Lumieres links the city’s rich architectural heritage with light, aiming to extend visitor stay to night by transforming the Cathedral City and its heritage sites. Thus, a wider tourist and economic benefit to the city is perceived in revealing Chartres Cathedral in a new, projected light.

Fig 3.4 - Chartres Cathedral: Chartres en Lumieres

Light and festival ritual continue to signify ceremonies across cultures of belief, announcing communality and marking time as ‘special.’ As Davies discusses, many historic festivals, as ritualized performance, mark the passage of time; be it in the marking of the summer or winter solstice; indicating times of harvest or the coming of winter (Davies, 2015). Indeed, many festivals of this reasoning continue to this day. Based in Sowerby Bridge, West Yorkshire, the Rushbearing festival historically marked the coming of winter, with the ‘ceremonial taking of the rushes to churches’ (Rushbearing Website) to act as insulation for the churches’ floor over the winter months. Fig 3.5 - Sowerby Bridge Rushbearing

35 Trip the light fantastic: The role of lighting festivals and events in urban design

The festival was revived in 1977, by way of marking the silver jubilee of Queen Elizabeth II. Central to the contemporary festival is the ‘rushcart,’ which this author remembers as towering above the streets it is pulled through, by a team of men surrounded by musicians, traditional street performers and folk dancers. The festival today is one of a kind in the United Kingdom, ‘an entertaining spectacle’ that historically marked the coming of winter, more recently a celebration of monarchy, and contemporarily, a community driven folk festival. (Rushbearing Festival Website) Light and festival ritual maintain an inherent role in the marking of passing time. Historic sites such as Stonehenge, UK and Newgrange, Ireland both mark elements of time through the manifestation of light. The illumination of Newgrange at the time of the Winter Solstice maintains significance both in Irish pagan ritual and folklore, as well as in contemporary society. Crowds gather, as they did 5,000 years ago, to experience the Fig 3.6 - Solstice at Newgrange passageway illuminate as the sun rises on the shortest day of the year. The importance of light in celebration and ceremony is seen here, both in physical, embodied experience, as well as a wider, cultural symbolism. Until recently, the ritual at Newgrange was broadcast on national television network RTE, creating a collective memory. The concept of collective memory and shared experience is one which is consistently referenced in the discourse of lighting festivals and events (Edensor, 2014; Jiwa et al, 2009; Evans, 2012; Bremner, 2015a). Similarly, Edinburgh’s Beltane Fire Festival, with roots in pagan celebrations of the spring equinox, uses (fire)light as central theme to a shared experience, fostering a feeling of conviviality and collective identity and memory. This emphasis upon light as shared experience continues today, as the festival continues annually, and is also perceived as present in the number of lighting festivals and events that occur world over.

Cashel F.L. Brown | MA Design [Lighting]

Fig 3.7 - Enchanted Forest, Pitlochry

Light as spectacle

As a medium, light maintains the ability to enchant and enthrall the viewer in the creation of visual spectacle. But how should we understand the appeal that illumination seems to command? Whether we are discussing lighting events such as Pitlochry’s Enchanted Forest or the more commodified event of Christmas lighting in cities across the world, light as spectacle and destination seems to mystify those that participate in its events. People attend events such as the Enchanted Forest seeking new experiences, new ways of viewing and understanding the spaces which surround them. As Edensor (2014) discusses, few are typically drawn to the Enchanted Forest after sundown. It is the chance to experience the ‘unfamiliar,’ gloomy places made anew through illumination, rendering new experiences, ‘deeply peculiar’ from the norm. Contrastingly, those attending the switch on of Christmas lights, for example, may be seeking affective experiences belonging to ideals of community or a romanticized view of Christmases past. The language used in the description of contemporary events; ‘luminous magic,’ ‘spectacular new light,’ ‘transform the city’ (see Chapter 4: Methodology) give hint to a mysterious, otherworldly character to contemporary lighting events, belonging to ethereal, temporal being, a transformation from the humdrum of everyday life. This creation of

37 Trip the light fantastic: The role of lighting festivals and events in urban design

spectacle; of atmospheres, can be seen utilised in a number of ways. From the deployment of fireworks to mark the bringing in of a New Year, to the stage shows of popular music concerts, the use of light as spectacle belongs to the realms of mystery and escapism, transforming (albeit temporarily) the spaces which surround. The designing of atmospheres in a multitude of disciplines can perhaps be seen as rooted in the theatre. Böhme (2013) attributes stage production techniques as ‘setting the conditions in which the atmosphere appears,’ with a creation of ‘tuned’ space, by which atmospheres are created. In the paradigm of the stage set, this aesthetic is created by the contention between light and dark, and varying ‘tones, shapes and hues’ therein (Edensor, 2015). In architecture, tactility is deemed as a defining factor in the creation of atmosphere. Material choice and the feel of built form underhand; the quality of natural light and shadow; the acoustic quality of material and surroundings; the smells of material and activity within; all contribute to the feel of place. Indeed, increasingly texts that make reference to the sensory; Pallasmaa’s Eyes of the Skin; Zumthor’s Atmospheres and Cadwell’s Strange Details enhance the more technical texts of architectural education with a design approach rooted in the production of feelings. In this way, the importance of light to the creation of atmosphere is described as the ‘precious gift’ (Palassmaa, 2005) and form giver to architecture, ‘a new mass seeping in[to]’ a constructed form of shadow (Zumthor, 2006). Light in this reading is a form of architecture. This attribution, as discussed by Edensor (2015), can be seen in the practice of a number of contemporary architects (the aforementioned Peter Zumthor and Juhani Pallasmaa, Luis Barragàn and Tadao Ando, to name a few) used in the Fig 3.8 - Ibaraki Church of Light; Tadao Ando

Cashel F.L. Brown | MA Design [Lighting]

creation of intimate, ‘atmospheric’ space. In keeping with the emphasis upon an architecture of light we should acknowledge the power and dramatic potential of light and architecture. One example of notoriety is the creation of the cathedral of light, designed for Nazi party rallies at Nuremberg. Utilizing 130 anti-aircraft searchlights, encasing thousands upon thousands of followers, the Fig 3.9 - Cathedral of Light; Nuremberg shafts of light ‘pierc[ed] the night sky’ in an intimidating spectacle of grandeur (Forsgren, 2012). Here, the ‘participatory spectacle’ (Edensor, 2015) adopted a number of functions; imbuing a sense of the solemn and spiritual (Museen der stadt Nürnberg website); symbolic of the exaggerated grandeur of party aspiration (Forsgren, 2012); and situating followers in a ‘spectacular mass choreography of light and sound’ (Edensor, 2015). The ‘power and mysticism’ (Khodadad, nd) of light was here used as propaganda tool for the rallies held there, whilst also demonstrating an ethereal typology of architecture, creating atmospheres affecting those that inhabited the vast fields at Nuremberg during these events. Indeed, Khodadad argues the power of light, in altering perceptions both visually and psychologically. By directly comparing Speer’s example above, with New York’s Tribute in Light, memorializing the attacks of 11 September 2001, the author’s position regarding light and its ability to control is revealed, whether that be in the production of ephemeral architecture to ‘manipulat[e] and proliferat[e]’ (Khodadad,nd) an agenda of authoritative control and fear; or in the creation of reverence and memorialization through similar means. The power of light in this regard goes beyond much that can be achieved in traditional architectural methods; the ‘immaterial qualities’ of light ‘transcending the realms of the possible’ (Khodadad, nd). Although for much less sinister means, today, this emphasis upon light, spectacle and creation of specific atmospheres is one present in the consideration of lighting festivals. A creation of mysticism and wonder, utilised to disrupt daily practice.

39 Trip the light fantastic: The role of lighting festivals and events in urban design

Festivals as ritual and spectacle

Lighting festivals, and the lighting of festivity offer new ways for the inhabitants of a city to view, perceive and occupy the places and spaces that make up urban centres. Increasingly, the typology of lighting festival is being harnessed by local authorities to revitalise their city centres. Chapters one and two have discussed lighting festivals and events with regard to economy and tourism, proving events of these type to be overtly beneficial to host cities. However, a number of festival typologies; film, music, Edinburgh’s Fringe Festival, for example; are also seen as beneficial, to economic and tourism development, and to regeneration initiatives. What separates the lighting festival as distinct from other festival typologies? Many have argued that urban festivals act as a form of ‘ritualised transgression’ (Picard and Robinson, 2006); a departure from the humdrum of everyday life, providing experience outside of usual behaviours. By ‘utilis[ing], creat[ing] and transform[ing] public spaces,’ (Picard and Robinson, 2006) festivals open up a range of possibilities; making urban spaces ‘special,’ as their previous uses disappear into memory. Lighting festivals, in particular, maintain possibilities of (re)enchantment in their occurrence. Currently, there is a disdain in the lighting industry for a number of lighting methods that surround our everyday routines. Edensor argues that a ‘disenchantment towards the ubiquitous use of sodium vapour lighting’ (2014) exists within many lighting designers, as lighting trends veer towards a twenty four hour cycle of surveillance in a number of areas (See Entwistle, Slater and Sloane, 2015). Lighting festivals are seen as reactionary departures, both for members of the profession, breaking away from the ‘golden pink light’ (Jakle, cited in Edensor 2014); as well as members of the public attending events of this nature. In these, atmospheres of experimentation for professionals bring to life temporary Fig 3.10 - Whitecross Estate; London. Sodium Vapour Light

Cashel F.L. Brown | MA Design [Lighting]

installation that may create permanent legacy. Just as Davies argues festival architectures lend precedent for permanent buildings (2015), lighting festivals prove as a trial ground for lasting lighting schemes and strategies. Urban festivals belong to the realm of liminality, transitory worlds that ‘temporar[ily] re-align(…) space and its uses’ (Picard and Robinson, 2006), disrupting routine activities with spectacle and wonder. Light and visual perception is central to how we as individuals see the world. Consequently, light festivals maintain the ability to ‘stimulate, challenge and confound’ (Edensor, 2014) our visual perceptions in the myriad ways in which lighting is utilised. As such, Bennett (2001) argues that the ‘re-enchantment’ of urban spaces is possible through the ‘uncanny sensation of being (…) torn out of one’s default sensory’ experiences (Bennett, cited in Edensor, 2014). Light festivals such as the earlier mentioned Enchanted Forest in Pitlochry, present familiar landscapes in an unfamiliar way through the ‘production of the spectacular’ (Edensor, 2014).

Fig 3.11 - Enchanted Path, Pitlochry

Light maintains properties that are inherent to the ways in which we perceive the world. As a temporal medium, it can be symbolic; of celestial deities; of power; of solace; and of celebration. Festivals, as transitory events, offer new ways of experiencing the urban fabric which surrounds us, and as such, maintain important role in the development of tourism and urban regeneration. Light festivals, as a distinct genre of urban festivity, utilise illumination to breakout from normal conventions, often considered ‘dull’ and belonging to surveillance, rather than to the production of enchantment. Temporal events such as these, belonging to a production of spectacle, aim to enhance perceptions of space and time, paralleling the very nature of light; temporalness. One would argue that light and festivals, demonstrated here through discussion upon ritual and tradition, are inseparable. 41 Trip the light fantastic: The role of lighting festivals and events in urban design

Chapter IV - Methodology This chapter sets out the method of investigation. By adopting a discourse rooted, case study based analysis, the following chapters of the paper aim to address the shared relationship between lighting festivals and urban design. Previous chapters have discussed festival and events evaluation as primarily quantitative, however a qualitative approach generates a new form of enquiry to the evaluation of these types of events. A study by ethnographic means may be best placed in addressing the qualitative aspects of event evaluation, given their experience based approach. However, such a study is not possible at this time. This chapter is therefore split to address the two facets of this study; the case study and analysis of discourses. Recent studies on the topic of temporal lighting, lighting festivals and events such as the Nuit Blanche brand, have primarily focused upon aspects of tourism, place branding and the economic benefits of such events. Primarily quantitative in nature, a number of reports suggest the success of these events can be determined by numerical statistics; visitor numbers and their generation of additional income, return of investment by organisers, levels of publicity in terms of newspaper articles and television/radio coverage and number of jobs created, temporary or permanent, in the local area of the host city. In 2010, Lighting Urban Community International Association (LUCI) headed by Glasgow City Council, commissioned Cambridge Policy Consultants to undertake a study in attempt to quantify and evaluate the benefit of Lighting Festivals to the culture and economy of their host cities. The resulting report, The Economic and Cultural Benefits of Lighting Festivals generally split the evaluation of these factors into three categories: -

Economic Benefits; as discussed above;

Image Benefits; the perception of place to visitors and inhabitants;

Community Benefits; primarily assessed through community involvement;

For the most part, these benefits and their evaluation, sat firmly within the realms of

travel and tourism, with visitor numbers contributing heavily to the success of a given event. Furthermore, the study focuses upon the temporary benefits of these festivals. Therefore, a gap can be identified within the context of evaluating temporal lighting events: their lasting impact within the context of urban design, identity and placemaking. The aim of this paper is therefore to explore the ways in which temporary lighting events, such as Lyon’s Fêtes de Lumières. are understood in relation to urban economies and urban design. Fig 4.1 - Lyon Fêtes de Lumières

43 Trip the light fantastic: The role of lighting festivals and events in urban design

Although this quantitative analysis of visitor numbers and economic impacts is useful in assessing the potential of lighting events to host cities, recent studies have demonstrated a more qualitative model. Focusing upon meaning and experience, Giovanardi et al present an ethnographic account of the Pink Night Festival, an annual festival situated along the Romagna coastal region of Italy. Owing much to the Nuit Blanche model of events, the Pink Night festival was a direct result of “tourism marketing initiative[s].” (Giovanardi et al, 2014) The study acknowledges the importance of quantitative methods e.g. the festival considered successful due to an attendance of two million people in 2011, contributing “proceeds of $260,000,000” to the locality, proving the festival a “valuable source of revenue.” However, the study takes primary focus upon the relations between the inhabitants of the region, and the tourists visiting for the event. Here, a narrative of ”the human emotions and atmospheres emanating from the place and interactions therein” is brought forward, with a qualitative focus upon meaning and “co-performing” tourist experience. (Giovanardi et al, 2014) Similarly, Evans’ study into the Nuit Blanche brand, and the associated UK Light Night events, presents a model of analysis taking into account both qualitative/quantitative aspects, citing economic values of such events, as well as the contribution these events maintain in the perception of public space, the events giving “residents and visitors the opportunity to experience their city at night from a fresh perspective” (Evans, 2012). In assessing the how Lighting Events are understood in relation to Urban Economies and Design, a qualitative analysis of visitor, participant and organisational experience would prove a valuable resource to supplement the statistical analysis presented by LUCI’s 2011 report. An ethnographic study into the experiences and perceptions of the many actors involved in a cross section of lighting festivals and events would provide an understanding of the complex interwoven phenomena that produce the events. Furthermore, visitor observation and interviews would reveal a breadth of understandings of how these events fit in with the wider theme of contemporary urbanism. However, due to the temporal nature of these events (many depend upon dark winter nights), an ethnographic study of this nature proves difficult at time of writing, and would present a study of little or no academic value. Therefore, a different model of evaluation is required to present these themes.

Cashel F.L. Brown | MA Design [Lighting]

A Case Study Driven Approach

From the above studies, it can be understood that a sample from the breadth of event typologies and scales is appropriate to a successful study of lighting events, and their contribution to urban planning and design. LUCI’s 2011 study cited ten lighting events to support the information collated in the report, although contact had been made initially with twenty six cities, of which eighteen were members of Lighting Urban Communities International. The ten focused case studies were not selected for being perfect events, or indeed having a flawless assessment framework as to the economic and social benefits of their events. However, each was considered to have an exemplary method in assessing one aspect of the success of these events. Each of the ten case studies then contributed to a framework of recommendations and good practices in the assessment of these events. This in turn contributed to the development of a Light Festival Evaluation Toolkit (http://www2.luciassociation.org/toolkit-home. html) from which potential host cities can view the case studies, and gain the appropriate information for the assessment of their event. The LUCI study, corresponding report and toolkit present an exemplary approach to the assessment of these types of events. Primarily rooted in tourism, the case study methods used present a useful platform into the exploration of lighting events, and how they are understood in regard to urban economies and design. Additionally, Giovanardi et al’s case for the Pink Night, although presented as a singular, explanatory case study, presents a detailed account of the event and the extents to which tourist and regional inhabitant “co-perform” festival and tourism events. Both studies present a differing approach to the case study methods, which Thomas describes as:

“analys[is] of persons, events…which are studied holistically… The case that is the subject of the inquiry will be an instance of a class of phenomena that provides an analytical frame – an object – within which the study is conducted and which the case illuminates and explicates” (Thomas, 2011)

45 Trip the light fantastic: The role of lighting festivals and events in urban design

LUCI’s report uses multiple case studies to build a bigger picture of the Cultural and Economic Benefits of Light Festivals, contributing to a wider theme of policy making and ‘best practice,’ whilst Giovanardi et al present the Pink Night as an exemplary, singular study of the ‘co-performance’ of tourism through ethnographic means. Yin states that although co-dependent and useful in combination, case studies and ethnographies are often confused in their methods due to perceptions of time required to carry them out. Yin contrasts the two, stating case studies, as a form of enquiry, “do[es] not depend solely on ethnographic or participant observation” methods (Yin, 2003). As the current study cannot depend upon ethnographic means of inquiry, due to the temporal nature of such events, and the time constraints present, a study of cases across the diverse breadth of lighting events is deemed an appropriate method. Furthermore, the diversity of these events in time, place, size, rationale and implementation methods presents argument for a multiple case study approach, contributing to a more ‘compelling’ and ‘robust’ analysis, each event focused upon serving “specific purpose within the overall scope of inquiry.” (Yin, 2003)

An Analysis of Discourse

Discounting ethnographic methods, participant observations, interviews and quantitative means of assessment leaves scope for a differing form of inquiry. Adopting a case study driven approach proves useful in the representation of events from a broad range of scales, rationale and locations. However, this alone does not present a substantial study into how this typology of urban festival are understood with regard to the cities which surround them. The combination of a case study based approach, with a new relational mode of inquiry to the field of lighting event evaluation, such as analysis of the meanings attributed to light festivals in relation to urban sites and economies should provide insight as to how lighting festivals and events are framed as both design experience and prevailing urban modality. Throughout the many publications, websites, promotional materials and media coverage that are concerned with lighting festivals and events, there are numerous claims of the transformative nature of light with regard to these events:

Cashel F.L. Brown | MA Design [Lighting]

“We hope the event brings some luminous magic to the centre of Aberdeen”

Andy Bryon, Director of Curated Place, Spectra, Aberdeen’s Festival of Light

“Radiance showcased Glasgow in a spectacular new light with the streets of the Merchant City being transformed by celebrat[ing] lighting…”

Radiance – Glasgow Festival of Light

“Artists from all backgrounds are working enthusiastically to complete the 75 facilities that will transform the city. The opportunity to (re) discover Lyon during a spectacular urban ride!”

Lyon Fetes de Lumières, Newsletter November 2014 (translated)

“…Eindhoven will once again be completely immersed in the light art festival GLOW… light installations, sculptures, projections and performances provide the public with a surprising new angle on the city.”

GLOW Eindhoven

It is within statements such as these that there lies potential for analysis of the current trend of lighting events in urban centres, and their relationship with the wider themes of urban planning and design. An analysis of the current discourse of lighting festivals and associated literature is therefore seen as a relevant means by which a more in-depth analysis might provide a distinct means of understanding the relations between lighting events and urban policy. It has already been recognised that discourse analysis is being increasingly

“deployed… as a methodology to understand the urban policy implementation process…” with researchers “recognis[ing] the important role of language in the policy arena.” (Jacobs, 2006)

47 Trip the light fantastic: The role of lighting festivals and events in urban design

It is therefore suggested that a method utilizing discourse analysis proves useful in determining how lighting festivals and events fit in to the wider ‘arena’ of urban policy research. The ways in which language are utilised to “pursue political and organisational objectives” as well as how the documents in which it is used are “interpreted by their intended audiences” can add particular insight into this study’s topic, which may not be evident in other methodologies such as ethnographies (Jacobs, 2006), Jacobs argues for using an approach Norman Fairclough’s approach of critical discourse analysis (2003, 2012…) as it presents a “clear analytical structure for engaging…” in the study. Fairclough utilises a “three dimensional structure” as follows: -

text analysis – involving the study of textual structure, vocabulary and grammar; proving relevant in the evaluation of the statements above.

discursive practice – involving the context in which statements are made and feed into other debates; such as the publically available statements above, potentially contrasting with statements presented in publications by LUCI (normally only available to LUCI member cities)

social practice – requiring a focus upon the wider issues of lighting design, urban design and temporal events; discussing how lighting festivals relate to design, the cities which host them, the policies therein, and aspects of “festive cities” (Jacobs, 2006)

It is within the above framework that the current study will focus upon four case studies, and their associated discourses, as follows -

Spectra Festival, Aberdeen;

Radiance Festival, Glasgow;

GLOW, Eindhoven; and;

Fetes de Lumières, Lyon.

Cashel F.L. Brown | MA Design [Lighting]

The study will also focus upon wider discursive practices of urban festivals and lighting festivals, and their roles within their city hosts. Key texts upon which the analysis will fall, that framing lighting festivals and events as contributing to urban regeneration, identity and tourism as follows:

Entwistle, J. (2013). Light Festivals: Painting the Town Red. Lighting Journal. 78 (8), 10-16.

LUCI Publications (2012). Light as a tool for tourism development. Lyon: LUCI Publications.

LUCI Publications (2011). The Economic and Cultural Benefits of Light Festivals. Lyon: LUCI Publications.

Jiwa, S., Andres Coca-Stefaniak, J., Blackwell, M. and Rahman, T. (2009). Light Night: an “enlightening” place marketing experience. Journal of Place Management and Development, 2(2), pp.154-166.

Giovanardi, M., Lucarelli, A. and Decosta, P. (2014). Co-performing tourism places: The “Pink Night” festival. Annals of Tourism Research, 44, pp.102-115.

Evans, G. (2012). Hold back the night: Nuit Blanche and all-night events in capital cities. Current Issues in Tourism, 15(1-2), pp.35-49.

Davies, W.K.D. (2015). Festive Cities: Multi-Dimensional Perspectives. In: Davies, W.K.D Theme Cities: Solutions for Urban Problems. New York: Springer. 533-562.

49 Trip the light fantastic: The role of lighting festivals and events in urban design

Chapter V - Case Studies This chapter aims to provide platform to the discussion in the next. By examining four case studies across the breadth of the light festival typology, it is a starting point for the discussion upon lighting festivals, the relationship shared with and contribution to urban design and economies. The four case studies represent the wider light festival typology, with cases of newly established events, and those firmly rooted in an annual calendar of events. They vary in scales; of attendance, of locality, of tourism draw and artists/installations represented. The previous chapters have discussed benefits across a number of factors with regard to economic development, tourism development and regeneration. The aim is therefore to determine the value of these events and to whom the evaluation thereof is best placed. How does one evaluate such events and to whom does the benefit lie within the context of prevailing urban discourses?

The following case studies are split into the sections below:

Festival Origins – organisational rationale and event history;

Recent Editions – discussion of the most recent editions of the festivals;

Festival Aims – organisational motives

Assessment Methods – factors used in event evaluation

Measures of Success – recognition of success with regard to the above factors

Fig 5.1 - Grid, Fête des Lumières 2013

51 Trip the light fantastic: The role of lighting festivals and events in urban design

SPECTRA Festival of Light, Aberdeen UK

Aberdeen’s Festival of Light, SPECTRA, has returned to illuminate the lives of Aberdeen residents. The dazzling extravaganza will see artists from throughout (…) showcase their interpretations of light and colour. (Cruden, 2015)

Festival Origins

Aberdeen City Council (ACC) organised their first lighting festival in collaboration with Peacock Visual Arts, a contemporary visual arts organisation based in Aberdeen. After the perceived success of the first edition, based on an attendance number of 17,000 (Cole, 2015) , ACC engaged with arts production company Curated Place (Manchester), marketing company Denvir Marketing (Aberdeen) Fig 5.2 - Droplets; SPECTRA Aberdeen and artists group OMAi (Austria) to deliver an expanded programme of installations, events and workshops for the 2015 edition of SPECTRA.

Recent Editions

Set to hold its’ third edition in February 2016, SPECTRA is Aberdeen’s Festival of Light. Its first edition took place in February 2014, with an aim to “shine a light across the city and reconnect people with the beautiful surroundings the city boasts” (SPECTRA Promotional Brochure). SPECTRA, geographically, is the furthest north of the four featured case studies. As such, SPECTRA’s theme draws upon the rich history Aberdeen shares with Nordic countries such as Iceland and Denmark. The festival invites and promotes local, Scandinavian and international artists to ‘celebrate the darkness…the Aurora [Borealis]…and the Norse spirit that connects the cultures of the North’ (Curated Place, Festival Organisers).

Cashel F.L. Brown | MA Design [Lighting]

Festival Aims

With aspirations to align the event alongside the likes Lyon Fêtes de Lumières, SPECTRA and Curated Place aims to “stand out nationally (and eventually internationally)” to become “one of the major lighting events in Europe”. (Bremner, 2015a). The 2015 edition of SPECTRA was organised with the a number of objectives, including:

To ‘shine a light on the North’ - recognising Aberdeen’s voice within the contemporary national cultural identity and contribution to the arts.

Challenging and improving perceptions of Aberdeen and the North East and increase civic pride.

Enhance the city’s cultural calendar offer and to be a platform for the regions wider festival and cultural offer. We see the festival as opportunity to bring together the diversity of the areas cultural offer and to encourage people to come back for more.

Inform future long term public art commissioning and use of light in placemaking and regeneration processes. (SPECTRA Evaluation Report, 2015)

Assessment Methods

SPECTRA’s second edition took place in February 2015, building upon the perceived success of the first year. Aberdeen’s light festival is the newest event of those discussed in this chapter. As such economic indicators of success and associated evaluation methods have not been discussed in publications directly. Instead, Aberdeen City Council’s evaluation Fig 5.3 - The Green; SPECTRA Aberdeen of the event discusses qualitative aspects of assessment, as well as evaluation methods utilised by precedent festivals e.g. Media coverage.

53 Trip the light fantastic: The role of lighting festivals and events in urban design

The evaluation report, published after the 2015 edition of the festival discusses the following assessment methods, often comparing directly with the festivals initial year: -

Communication and Marketing;

Digital Growth;

Media and Press;

Community and Volunteer engagement (Bremner, 2015a).

Measures of Success

Aberdeen’s cultural strategy, Vibrant Aberdeen, lays out a number of strategic objectives for cultural events in Aberdeen. SPECTRA utilised these, in combination with the methods outlined above, to evaluate the success of the 2015 event. Comparing directly to its inaugural year, a decrease in attendance numbers to around 10,000 in 2015 (Bremner, 2015a) may suggest a ‘failed’ event. However, a number of factors are considered with regard to its sophomore effort. Traffic to the events website and social media channels had increased extensively in comparison with the 2014 edition, with an increased coverage in local and national media (Bremner, 2015a). Furthermore, the 2015 event was considered to have met a number of Vibrant Aberdeen’s strategic objectives, outlined below; -

Establish a cohesive cultural sector

The festival organisation involved a number of stakeholders, including local and national cultural and arts organisations.

Increase community engagement in culture

Attendance numbers at the community and school workshops, as well as the number of volunteers involved in the events’ organisation, indicated a positive contribution to community engagement, assessed through feedback from attendees and volunteers.

Improve the city’s cultural profile

The press attention given to the event both locally and nationally is a direct indicator of the contribution to Aberdeen’s cultural profile.

Cashel F.L. Brown | MA Design [Lighting]

Increase investment in culture

As well as investment from arts organisations, fuelled by the involvement if Curated Place, new investment for the event was generated by Aberdeenâ&#x20AC;&#x2122;s business community, providing new revenue streams for cultural events in Aberdeen (Aberdeen Business News, 2015)

Effectively monitor and evaluate the impact of culture

More thorough evaluation methods used during the 2015 edition including both qualitative and quantitative methods were used, to inform future event activity, and provide substantiation for future funding applications. (Bremner, 2015a; Vibrant Aberdeen Executive Summary 2010-2015)

Fig 5 .4 - Union Terrace Gardens; SPECTRA Aberdeen

55 Trip the light fantastic: The role of lighting festivals and events in urban design

Radiance: Festival of Light, Glasgow UK

The Radiance festival transforms buildings in the city centre through the innovative use of lighting, giving a new perspective to the viewer. (Deputy Lord Provost Allan Stewart, cited in BBC News, 2007)

Festival Origins

Glasgow’s International Festival of Light, Radiance, was held in 2005 and 2007. For three evenings (four in 2007) in November, Radiance ‘showcased’ Glasgow’s City Centre ‘in a spectacular new light’ (DF Concerts Website). The inaugural events were organised by Glasgow City Council in conjunction with DF Concerts and Fig 5.5 - Radiance Festival, Glasgow NVA (Johnston, 2005), with funding obtained from a number of sources (LUCI, 2011). Whilst SPECTRA’s aims are to align itself with international lighting festivals, the rationale for Radiance’s organisation and development lay in the rediscovery of the city centre and ‘less travelled areas’ (Glasgow City Council) whilst altering the perception of night time safety for the residents of Glasgow.

Recent Editions

The two editions of Glasgow Radiance Festival of Light represented a trial for both permanent lighting schemes in Glasgow, in line with the city’s Development Plan, as well as creating a legacy for future Radiance festivals and lighting events. The three day events drew attention to light as an artistic medium and its role in the creation of a ‘vibrant city’ through a short programme of public events, installations and light trails.

Cashel F.L. Brown | MA Design [Lighting]

Festival Aims

The festivals central aims are to enhance the perception of safety for Glasgow’s residents and visitors, whilst also highlighting a rich architectural heritage. A presentation given by Glasgow City Council states the following aims for the Radiance Festival; -

To be a family orientated event

To deliver high impact visual art

To seek to create a legacy of permanent installations

To seek to be Carbon Neutral

To compliment Glasgow City Council strategies and events

To coincide with Lighting Strategy project launches

Fig 5.6 - Glasgow Cathedral; Radiance Festival 2007

Assessment Methods

Glasgow City Council, as chair to LUCI, commissioned the 2011 report The Economic and Cultural Benefits of Lighting Festivals, demonstrating the assessment methods used by organisers of a number of lighting festivals worldwide, including Radiance. GCC’s assessment of impacts included both economic (investment, visitor expenditure etc.) and social impacts (perceptions of safety, community engagement etc.) with a number of methods used to evaluate the success of the event. Visitor perceptions of the event were collected via survey and anecdotal methods (comments book), with additional feedback given by artists represented in the event, and marketing company Kommando, responsible for the event branding (LUCI, 2011; Kommando website). Impacts of the event were assessed both quantitatively, and qualitatively, with visitor response given high priority.

Measures of Success

Glasgow’s Radiance festival, in part, represents the city’s long term engagement with light and lighting. Launched in conjunction with the city’s lighting strategy (GCC Website)

57 Trip the light fantastic: The role of lighting festivals and events in urban design

the festival was used as way of trial for permanent installations and lighting methods. Since its inception, around 100 lighting projects have been implemented throughout Glasgow, demonstrating the festivalâ&#x20AC;&#x2122;s positive influence in improving Glasgowâ&#x20AC;&#x2122;s image and perceptions of safety on national and international scales. As well as influencing legacy projects, the varying measures of success are categorised as relating to economic, social and image aspects. -

Economic Impacts

Radiance drew almost half a million pounds additional income for the City of Glasgow in 2007, with a wider contribution of around two hundred thousand pounds to the Scottish economy. -

Social/Cultural Impacts

Visitor survey and feedback indicated a positive contribution to the City, with perceptions of safety improving. Legacy projects indicate an overall positive contribution to the City of Glasgow as a whole.

Image Impacts

As with SPECTRA, media and press coverage at both a local and national level indicates a positive contribution to the image of Glasgow City Centre. (LUCI, 2011)

Fig 5.7 - Ross Sinclair; Radiance Festival 2005 Cashel F.L. Brown | MA Design [Lighting]

GLOW, Eindhoven NL

The Eindhoven inner city will be transformed into an eight-day light art show during this year’s GLOW festival. (Technische Universiteit Eindhoven)

Festival Origins

GLOW, Forum of Light in Art and Architecture is one of a number of lighting festivals and events that take place in Eindhoven, NL. With Eindhoven’s roots with ‘technology and creativity’ (EHV365, 2013), along with strong links with lighting industry and manufacturing (namely Philips, GLOW’s primary source of funding), GLOW Fig 5.8 - GLOW, Eindhoven represents opportunity experiment with lighting installations and light’s ‘’influence (…) in public spaces’ (GLOW website). GLOW’s inaugural event in 2007 was launched to coincide with the Annual General Meeting of Lighting Urban Communities International (LUCI). In 2006, Eindhoven used the impending AGM to trial a ‘high end event’ with which the city could align itself with others, such as Lyon, as a locale distinct in the area of light, in line with the city’s image as a creative, technologically based city. (GLOW website)

Recent Editions

GLOW has taken place annually in December since its’ inception. Taking place over eight days, GLOW aims to emphasise the importance of light to Eindhoven, with the city’s heritage, architecture and technological focus on display for an international audience. Eindhoven’s desire to align itself as a ‘city of light’ and technology has led to a number of lighting festivals and events to be organised, including GLOW and the Lichtjesroute mentioned previously (LUCI, 2011).

59 Trip the light fantastic: The role of lighting festivals and events in urban design

Recent editions of the festival have adopted a theme to influence the installations and events taking place, from Facades and Faces emphasising the varied yet distinct architectural landscape of Eindhoven’s traditional and postmodernist buildings, to this upcoming year’s theme Architecture, Nature and Art taking inspiration from natural phenomena such as the Northern Lights, as well as enhancing Eindhoven’s natural heritage (GLOW website; LUCI 2012). Additionally, GLOW’s spinoff event, GLOW NEXT (taking place in an area once home to Philips Headquarters, Strijp-S (Dynamic Concepts)) aims to secure Eindhoven’s reputation as a forward thinking, technology focused city. GLOW NEXT offers ‘platform for innovat[ion] and experiment[ation]’ (GLOW NEXT website) in architectural light and light art, allowing for a ‘vista of the future’ emphasising the contribution of light to social engagement and sustainability.

Festival Aims

GLOW’s overall intention is to become a leading event in a calendar rich in similar events. By aligning itself with more established festivals such as Lyon Fêtes de Lumières, GLOW and GLOW NEXT aim to become a precedent for festivals in their infancy. Furthermore, by using the strong industry links the city shares with lighting manufacturer Philips, GLOW aims to promote new and advancing technologies at the forefront of their festival. GLOW acts at a platform for Eindhoven’s city council to promote a number of lighting projects within the city, whilst also creating ‘recognizable identity’ (Maile Petty, 2008) for Eindhoven as a ‘city of light’ in its’ own right.

Cashel F.L. Brown | MA Design [Lighting]

Fig 5.9 - GLOW, Eindhoven 2010

Assessment Methods

Wider studies for the overall economic impact of GLOW to Eindhoven and the Netherlands have not been carried out. With attendance estimated at a quarter of a million in 2010, ten per cent of which were international visitors, there are wider ramifications with regard to the economic benefit of the festivals, and its impact upon tourism development (LUCI, 2011). GLOW’s methods of assessment instead lay in community participation in volunteering initiatives, coverage in local and international media, and its funding partnerships with industry figures.

Measures of Success

Continued investment from festival partner Philips and increased visitor numbers year upon year (2014’s event attracted over half a million people to Eindhoven (GLOW Newsletter, 2014)) are clear indicators of the continued success of GLOW and GLOW NEXT. GLOW’s evaluation of media coverage indicated an increase in press articles and regional television from 2010 to 2014 (LUCI, 2011; GLOW website) identifying GLOW as a premier lighting festival, comparable to events such as Fêtes de Lumières. The continued involvement of community volunteers in the organisation and smooth running of Eindhoven’s lighting events indicates the positive contribution of GLOW, GLOW NEXT and Lichtjesroute to the people of Eindhoven (LUCI, 2011), with a wider contribution to the image of Eindhoven as a ‘city of light.’

Fig 5.10 - Eindhoven Stationsplein; GLOW 2011

61 Trip the light fantastic: The role of lighting festivals and events in urban design

Fêtes de Lumières, Lyon FR

Four nights of utter enchantment (…) the exceptional spectacle showcases the city at its best.

(Lyon Tourist Office and Convention Bureau)

Festival Origins

Lyon’s Fêtes de Lumières is perhaps the most well known lighting event, attracting an estimated three million visitors each year (LUCI, 2011). Taking place over four nights in December, the festival’s organisation is rooted in Lyon’s local tradition. First taking place in 1852, Lyon’s festival of light originated as a religious Fig 5.11 - Fêtes de Lumières, Lyon endeavour to erect a statue to the Virgin Mary at the Basilica of Fourviére. A tradition linking light and celebration was born, with Lyon residents illuminating their windowsills by candlelight, and consequently the streets of Lyon and the hill upon which the statue sits (Lyon FdL website). The festival now maintains an international profile, with over eighty installation strewn throughout the city through the duration of the festival. Consequently, the festival has become a precedent for other lighting festivals and events, including those discussed earlier in this chapter.

Recent Editions

Since 1989, Fêtes de Lumières has resurrected this local tradition (Shin, 2014), and since 1998, the festival’s contemporary incarnation has been integrated within the City of Lyon Light Strategy. Recent editions of the festival characterise an exemplary approach to lighting events, involving a number of local partners and community groups in its organisation. (LUCI, 2012). Lyon’s city branding as a ‘city of light’ owes much to Fêtes de Lumières. Today, the festival attracts visitors and artist participants worldwide, with around three million visitors to Lyon and the Ile de France region around the time of the festival, and over one hundred artists contribution to installations and events.

Cashel F.L. Brown | MA Design [Lighting]

Festival Aims

Light maintains an important role in Lyon’s cultural and civic identity. As such, Fêtes de Lumières acts as an important catalyst to the city’s Lighting Strategy, showcasing Lyon’s ‘lighting expertise’ on an international stage. ONLY LYON, the city’s tourist office and convention bureau, outlines a number of festival aims in the Fêtes de Lumières Press Kit (2013) as follows: -

To become an artistic platform for ‘creators in the lighting sector’

By encouraging artist and designers from different disciplines, Lyon aims to renew its’ festival ‘through stimulating cultural encounters;’

To be a ‘springboard for artists across the world’

Fig 5.12 - Basilique Fourvière, Fête des Lumières 2014 By creating an ‘immense outdoor showroom’ for local and international artists, as well as promoting cross-cultural initiatives;

To create a legacy of permanent lighting installations

Each year, one of the festival’s installations is chosen by city officials to become a permanent part of Lyon’s nightscape and lighting strategy.

To promote an energy efficient festival, with overall contribution to urban lighting policy

The promotion of energy efficient luminous sources (i.e. emergent LED technologies), in combination with Lyon’s ‘expertise in permanent lighting of the urban area’ has resulted in the festivals’ energy consumption being reduced drastically. (The energy bill for the entire festivals run amounted to just five thousand euros in 2012)

63 Trip the light fantastic: The role of lighting festivals and events in urban design

To be an ‘experimental laboratory for students’

The festival gives rise to opportunity for a number of students of differing disciplines to be involved in projects and installations for display at the festival.

To be a ‘key destination’ for tourism

Lyon’s three million visitors during Fetes de Lumières contribute substantially to the wider tourism industry, with hotel accommodations often fully booked throughout its run. (ONLY LYON, 2013)

Assessment Methods

As with other lighting festivals, the wider contribution to tourist and urban economies has not been assessed in full. Anecdotal evidence from those providing hotel accommodations indicate a positive wider impact. Lyon’s primary methods of festival evaluation are in line with other festivals; visitor satisfaction; internal economic evaluation with respect to the running of the festival; media coverage; and the festivals’ contribution to the identity and branding of the City of Lyon. (LUCI, 2011; 2012)

Measures of Success

Consistently high festival attendances and media coverage maintain that Lyon’s Fêtes de Lumières is a model for other lighting festivals and events. The wider impacts of the festival, in combination with Lyon’s Lighting Strategy have led to civic collaborations both within France and beyond. Many city authorities see Lyon’s approach to urban lighting as exemplary, and as such, many delegations have engaged with Lyon’s city council, seeking advice and precedent for their events. Often this has resulted in an exchange of installations for each lighting festival (LUCI, 2012).

Cashel F.L. Brown | MA Design [Lighting]

The case studies in this chapter have discussed a small sample of lighting festivals and events. By exploring the rationale for host cities in conjunction with festival aims and assessment methods, a number of parallels can be drawn. With aims to stand out from other events of this typology, the case studies maintain both high quality programming and continued investment and support. Festivals such as GLOW and Fêtes de Lumières benefit from the image they have created as longstanding events in the lighting festival calendar. Those in their formative years, strive to reach the levels of their peers, by introducing development strategies over a number of years (Bremner, 2015b). The case studies present aims, assessment method and measures of success to provide a wider base for discussion in the next chapter. The discussion that follows aims to determine the value of these events, to whom the evaluation thereof is best placed, and to whom does the benefit lie within the context of prevailing urban discourses?

Fig 5.13 - Panorama, Fête des Lumières 2014

65 Trip the light fantastic: The role of lighting festivals and events in urban design

Chapter VI - Discussion This chapter uses the case studies in chapter five as a basis for discussion. Using the four festivals; SPECTRA Aberdeen, Glasgow Radiance, GLOW Eindhoven and Lyon Fêtes de Lumières; as a starting point, comparison can be drawn in their methods of assessment, measures of success and organisational rationale. Drawing from this comparison, a number of commonalities can be seen. Additionally, by drawing upon the ways in which these events are described; present in the websites and promotional literature of these events; festival reports and surrounding literature, the role that lighting festivals and events maintain in the wider theme of urban development will be discussed.

Case Studies

Although inherently different in their organisation, scale and budgetary constraints, a number of common themes can be drawn from the four case studies. Each of the four festivals represent a cross section of the wider event typology. Each case, although organised with different intent; be that in tourism development, city branding or increasing perceptions of safety; aims to provide a highly visible set of installations and events as part of a wider initiative in the creation of a ‘vibrant city,’ a city of light. Parallels can be drawn between each host city’s motives and aspirations, aims and assessment methods.

Festival Origins

As with the current trend for lighting events, Glasgow, Eindhoven and Aberdeen held their inaugural events within the last ten years. Lyon Fêtes de Lumières, considered to be the longest running event of its’ kind, continues to provide precedent for the other cases, and the wider event context. Each event aims to provide platform for light and projection, as an art form; with aspirations for their

Fig 6.1 - GLOW Eindhoven 2012

Fig 6.2 - Fêtes de Lumières 2012

67 Trip the light fantastic: The role of lighting festivals and events in urban design

festivals to be seen at an international level. Each case attributes city branding as partial reason for organisation; be that for residents of the city (Glasgow and Aberdeen) or for those from further afield (Eindhoven and Lyon).

Recent Festival Editions

With the exception of Glasgow, each of the cases has run annually since its inception. The festivals often adopt a theme to inspire the creativity of both artist and festival visitor. Aberdeen utilises its unique positioning geographically and relationship with Scandinavia to inspire its programming of installations and events; whilst Glasgow’s Radiance and GLOW Eindhoven have adopted a number of themed routes to discover less travelled areas of the city (GLOW website, Fig 6.3 - Roland Schimmel; GLOW Eindhoven 2014 Glasgow City Council, 2007b). Lyon uses its unique positioning as forerunner in the field to garner interest from international artists and visitors.

Festival Aims

Overall, the sample of festivals aimed to be visible on an international scale; whether that be current at time of writing (Lyon Fêtes de Lumières, GLOW Eindhoven) or aspirations for successive events (SPECTRA Aberdeen). Each festival serves purpose in igniting some form of civic pride to its locality, with a number of volunteering opportunities available to those that reside in their host cities. In the organising of lighting festivals, each host municipality aims to challenge perceptions of their cities in some way. Aberdeen, for example, commonly referred to as the ‘granite city’ due to its architectural heritage, is perceived as a dull and gloomy place

Cashel F.L. Brown | MA Design [Lighting]

on a national level. SPECTRA aims to challenge this by introducing a highly visible, colourful set of installations that enhance and reveal the hidden qualities of Aberdeen’s granite facades. Aberdeen City Council, over the next five years aims to use SPECTRA as a tool in the promotion of ‘North East culture’ both within Scotland and further afield (Bremner, 2015b). Similarly, Lyon’s Fêtes de Lumières was revived in 1998 to alter perceptions of Lyon as a dark, gloomy destination in the midst of winter (LUCI, 2012; FdL website), serving both the people of Lyon, as well as attracting visitors to the city during tourism ‘down times.’

Whilst no less important,

Glasgow’s aim with Radiance was to challenge the city wide perceptions of safety within the Merchant City at night (Glasgow City Council). By highlighting the areas rich architectural heritage, the festival endeavoured to create a family oriented event for locals (and visitors) to ‘reclaim’ and rediscover the city. Fig 6.4 -Glasgow Radiance 2005

With each festival aligning itself with Fêtes de Lumières, each city’s aim is to use its strengths to create a branded identity as a ‘city of light.’ Lyon represents the first city to roll out a long term lighting strategy, with many cities, including the other cases, using this example as precedent for their own long term urban strategies. By using events such as SPECTRA and Radiance as a ‘testing ground,’ Glasgow and Aberdeen aim to create a legacy for ‘long term public art commissioning’ (Bremner, 2015a) and ‘permanent installations (Glasgow City Council, 2007). Furthermore, Eindhoven utilises its status as a technological centre, to develop innovative solutions in permanent and events lighting.

69 Trip the light fantastic: The role of lighting festivals and events in urban design

Assessment Methods

Concurrent methods of assessment are utilised across the sample of lighting events. Both festivals in their formative years (Aberdeen; Glasgow) favoured qualitative methods based on visitor experience and satisfaction with their events; although; quantitative statistics such as visitor expenditure vs project budget were not neglected in their evaluation reports (Bremner, 2015a; Fig 6.5 - SPECTRA Aberdeen 2014 LUCI, 2011). Furthermore, events were evaluated in terms of community engagement, with aspects of civic pride considered, for all cities investigated. Across the board, the wider ramifications of these events with regard to tourist and urban economies, on a local and national scale, were not considered in the evaluation of lighting festivals. Finally, each festival utilised coverage in local and international media as way of assessment. This consideration of press and media coverage indicates the wider concerns of lighting festival rationale; the image and brand identity of the cities that host this typology of festivals and events.

Measures of Success

The perceived successes of lighting festivals and events can be attributed to a number of factors. From the methods of assessment, indicators of success can be summarised by the following:

Economic Impacts

Each event demonstrated some impact with regard to the wider economic concerns of their host cities. High attendance rates at Lyon FĂŞtes de LumiĂ¨res and GLOW Eindhoven indicate a positive contribution to urban economies. Whilst a full assessment is needed to fully analyse the economic impacts of lighting festivals, anecdotal evidence from a number of cities (Bremner, 2014; ONLY

Cashel F.L. Brown | MA Design [Lighting]

LYON, 2013) suggests the wider tourism industry is served by the hosting of a lighting festival, with an increase in hotel bookings to the locality. Furthermore, the continued involvement of funding partners such as Philips (Eindhoven) and the generation of new revenue streams into cultural initiatives (Aberdeen) suggests a positive impact to the economies of a lighting festivals host city.

Sociocultural Impacts

By relying on visitor feedback, and assessing the involvement of the local

community in volunteering initiatives, the contribution of lighting festivals to the social and cultural life of their host cities an be seen as a positive impact. Furthermore, the contribution of legacy projects for host cities Glasgow, Eindhoven and Lyon mark a positive contribution to the wider concerns of their localities. In this instance, the challenging of perceptions; be that the perceptions of safety to residents, or those belonging to potential visitors; can be seen as contributing positively to host cities of lighting festivals. This belongs to both sociocultural and image impact.

Image Impacts

Primary assessment of the image of a city lay in the media coverage of lighting events. Extensive coverage by both local and national press for each of the case studies indicates a positive contribution to a city’s image. The press attention given to these types of events can be deemed as contributing to the cultural profile of the host city, and by aligning themselves with events such as Fêtes de Lumières, an identity as a ‘city of light’ is perceived.

71 Trip the light fantastic: The role of lighting festivals and events in urban design

Relation to wider context

The case studies presented in Chapter Five present a sample of the larger spectrum of lighting festivals and events. By discussing their commonalities above, a platform for the wider role of lighting festivals with regard to their urban centres can be established. By comparing some of the statements these festivals make, with others and surrounding literature, a fuller picture can be revealed, bringing light to their role in contemporary urbanism, the value of such events and to whom the benefit lies. Currently, an increasing number of cities in Europe and further afield are placing lighting at the forefront of their urban policies. Cities such as Lyon, Glasgow and Eindhoven (LUCI, 2011, 2012; Glasgow City Council, 2006) all maintain lighting master-plans, strategies and regulatory frameworks to understand the use of public space at night, and how best to implement lighting solutions. By considering the wider context of urban design, we may deduce how exactly lighting festivals fit in with these urban policies. Lighting festivals and events serve multiple purposes to the municipalities that host them. In the promotion of these events, many allude to the transformation of a city (Picard and Robinson, 2006); to the creation of vibrant atmospheres (Glasgow City Council, 2007); to mystery, wonder, excitement and enchantment (ONLY LYON); to experience the city in a new light (Glasgow Radiance Festival). Phrases such as these indicate the fostering of new experiences for potential visitors. In this context, the idea of ‘enchanting atmospheres,’ something that strays from the normal landscape of urban illumination, is attractive to a potential visitor. Similarly, in the promotion of these events through evaluation reports and press kits, the ‘transformative’ nature of these types of events is deemed a valuable resource in securing new sources of revenue from potential partners, as well as in attracting artists from further afield to display their work. Lyon can rely on the fact that it is the lighting festival of choice for many artists, investors and visitors; whilst those in their infancy, such as SPECTRA have to use the idea of enchantment and mystery to garner interest in their events. As stated previously, many host cities use these festivals and events as a testing field for legacy projects. The installations that make up the programming can foster new and innovative solutions to urban lighting, seen as reactionary to the ‘ubiquitous use of soidum vapour lighting’ (Edensor, 2014) present in many of our cities today. With many cities veering towards a twenty four hour cycle, and an increase in the night time economy for many; new and innovative lighting solutions present new opportunity in altering perceptions of safety in

Cashel F.L. Brown | MA Design [Lighting]

urban centres. By fostering ‘atmospheres of conviviality’ (Edensor 2014), light and lighting festivals possess ability to ‘transform’ urban centres, for resident and tourist alike. By integrating lighting festivals and events into their tourism and urban strategies, there is rich potential for host cities to thrive from their success. Cities such as Aberdeen, Eindhoven, Glasgow and Lyon, by consciously branding themselves as ‘cities of light,’ aim for their events to be seen at national and international scales. This conscious effort to be seen on these platforms associates itself with aspects of placemaking, tourism development, economic development and aspects of regeneration. The role of the lighting festival is multifaceted; the case studies presented all maintain this in their varying rationale and aims. Whether a lighting festival’s role is seen as increasing civic pride by challenging local and national perceptions, or as deliberate step in the development of tourism; they can be deemed as central to the concerns of many contemporary cities.

Fig 6.6 - South Portland Street Footbridge; Glasgow Radiance 2005

73 Trip the light fantastic: The role of lighting festivals and events in urban design

Chapter VII - Conclusion This dissertation has sought to bring to light the many issues surrounding the contemporary lighting festival. Over the last fifteen years, there has been a trend for cities in Europe and beyond, in the organisation of a lighting festival or event such as Nuit Blanche. These multi-faceted events can prove as a valuable addition to the cultural calendar of any given city. With contributions to branding, tourism and economic development, lighting festivals are increasingly seen as viable method in enhancing urban centres at night. There is rich potential for lighting festivals to contribute to urban design; and for the host cities to thrive. This study represents an interest in temporal lighting events as producer of space and place. Through a case study based approach, the benefits of lighting festivals to host cities and those that inhabit have been discussed. Although primarily a desk-based study, this dissertation gives insight into these perceived benefits, focusing upon branding, tourism and urban economies. A full ethnographic account of exemplary lighting festivals, in combination with the points discussed here, would give rise to a more fuller understanding of these events, and the role they play in urban design and economies. The positive effects of lighting festivals to host cities can be seen through the case studies presented, and discussion throughout regarding the myriad factors considered in the production of these events. In considering lighting festivals with regards to urban design, the motivations of host cities are important in determining the role they will play. Cities across the world are aligning themselves as ‘cities of light,’ and their lighting festivals represent part of this branded identity. The cities in the case studies present such examples, with their lighting events representing a trial ground for a legacy of lighting installation and innovative solutions. These legacy projects, and a central theme of improved lighting become part of the urban policy, planning strategies and cultural development plans of the cities mentioned. This serves a wider network of cities, through associations such as Lighting Urban Communities International, to provide exemplary approaches to urban lighting and planning. Festivals such as Lyon Fêtes de Lumières, in their assessment, maintain the importance of such events; to economies; to the sociality and culture; and to the image and branding of host cities. Lighting festivals and events are multifaceted. They play an important role in the re-enchantment of a contemporary society, seen in practice as washed in a ‘golden pink light’ (Edensor, 2014). They are reactionary occasions, bathing urban centres in colour, ‘conviviality,’ (ibid) mystery and enchantment. Their rationale; be it in challenging the perceptions of an area on a local or national scale; increasing civic pride; or as deliberate attempt in the development of tourism; relate to the wider concerns of urban design, urban economies, tourism development and regeneration. The lighting festival, although temporal in nature, maintains important role in the permanent discourse of urban design and economies.

Fig 7.1 - United Visual Artists - Triptych; Paris Nuit Blanche 2007

Trip the light fantastic: The role of lighting festivals and events in urban design

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