I N T E R A C T I V E
L I G H T I N G :
T R A N S L A T I N G
R O S A N N A
S P A C E
P E P L O E
CONTENTS INTRODUCTION
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RESEARCH QUESTION
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INITIAL INTEREST
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LIGHT: ITS IMPACT ON HUMANS
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LIGHT: TECHNOLOGICAL PROGRESSION
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CASE STUDIES: - FLYLIGHT
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- INTERFERENCE
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INTERACTIVE LIGHTING IN THE FUTURE
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CONCLUSION
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REFERENCES
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IMAGE REFERENCES
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BIBLIOGRAPHY
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Fig 1 (Front cover): Studio Drifts Flylight pictured at the Arsenale Venice (Studio Drift, 2013).
INTRODUCTION Integral to our experience and way of life, human ancestors are thought to have irst harnessed ire thereby light one million years ago during the early Acheulean occupation (Berna et al, 2012). From camp ire to torch and beyond, light has since illuminated our environments; light uncovers new space in the dark, as Heidegger (1931) states: ‘Light is the letting-through, the pervious [das Durchlassende]’. Yet as we have evolved so too has our connection with light as a technology. Nascent technologies have evolved and within the majority of our world, light is predominately sourced through man-made means resulting in our connection with light in the early twenty-irst Century subsumed to the switch, pull cord, or plug. Yet whilst advanced, these technologies and engagement with light is based upon Century old inventions; the average space illuminated by the technologies of yesterday. No longer dependent on light for heat and with luminosity at a switch, light can be utilised beyond its previous means; light has the potential to change a space, and the way in which we engage, experience, and connect with it (Davis, 2013). The relationship between lighting and spatial design is signiicant: the majority of active spaces require light in the absence of daylight. The relationship has been studied for years within the ield of design, often questioning light source, placement, and measure of emission as contributory factors that must be considered when creating a space or designing a building, internally or externally. All such factors contribute to the extent to which the desired efect is achieved, and the extent to which the lighting design augments the purpose of the space. How can the ever-changing population now be en-captivated and stimulated within commercial buildings and public spaces? (Song, 2009). Has economy and social habits taught the masses to look down and walk on, instead of stopping to interact? With generational, sociological and economical transformations, the world’s technological advances and aesthetic identity is in lux;
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expectations of how a building should be and look these days is very diferent to that of 10 years ago, therefore posing question as follows: how is the dated technology of the light bulb, and other arguably dated lighting technologies still relevant in contemporary buildings? In seeking to re-engage and stimulate occupants of a space one might look to use lighting technology: what if the walls were clad in lighting that is controlled with sensory computer technology, with the occupants themselves interacting with the space, illuminating the space? Could this transform an existing space into a desirable environment in which there is a dialogue between the space and those occupying it? Interaction (whether active or passive) with lighting technology elevates the space and the illumination of the space beyond that of the present; occupying a space becomes an immersive experience in which people are controlling and responding to light, and through light, are establishing relationships with the space and those whom they share it with. With computer compatible and highly eicient lighting technologies, for example: LED and OLED readily available, it is possible to create modern, eicient, and creative lighting designs for each and every building and its purpose. The future certainly holds a multitude of exciting opportunities in this ield of the design industry.
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RESEARCH QUESTION Fig 2
Is interactive lighting the future in breaking social barriers & creating contemporary and engaging spatial environments for commercial design? I intend to answer this question through the following method: -
Initial Interest: Interactive Lighting project. Historical study of the origins of man-made light. Historical study of technological advances. Contextual study of current Interactive Lighting designs. Relection on future applications of Interactive Lighting.
With the technology available, and design nascent, Interactive Lighting (IL) has increasingly become a wealthy area of study, therefore I am going to begin my research by studying a realised IL project, analysing the technology used and the outcome of the design, and its impact on humans creatively and socially. Subsequent to this I intend to study the origins of man-made light to establish whether there is a pattern in the development of this technology, and to examine how it afects humans on a social and psychological level. Thirdly I will engage with the emergence of technological advances and study the efect and development within the past 150 years, questioning the following: what is creating this scope for such pioneering lighting designs? Is it plausible that IL technology could become a consistent addition to design schemes? To be able to determine the possibility of interactive installations establishing a position in the future of the design market, I want to look into contrasting examples of current Interactive Designs, taking note of location, scale, purpose, and the overall outcome of its presence and the impact it has made upon space so to determine the extent of its success. All of which will inform relection regarding future possibilities of creating these installations as an integral part of an interior or exterior space; is it plausible to apply IL to all aspects of commercial design? Can it relate to widespread commercial industry?
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Fig 2 : An example of an interactive Lighting project. Submergence by Squidsoup. Created from LED and computer technology , irst exhibted in 2013 (SquidSoup, 2013) 4.
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INITIAL INTEREST IL, generally, is often viewed within the context of visual arts thereby the encounter is subsumed to this state of engagement. However with technological advancements, IL is increasingly incorporated into commercial buildings within the niche. Designers fortunate enough to receive employment within a contemporary design conscious initiative are a source of knowledge in regard to applicability of IL within the wider remit of design. Furthermore, these designers through their projects give insight into motivations behind IL integrated schemes. What does utilising IL achieve? Random International is a London based creative studio that experiment with technology seeking to amalgamate kinetic and interactive art. Random Internationals Future Self is an example of an installation 5.
that utilises IL design: an interdisciplinary arts installation, it is designed to record and replicate human kinetic energy as light. Future Self was constructed of brass rods that were customised with 10,000 LEDs and custom programmed to react to data gathered by 3D Cameras (Random international, 2012). The installation responds to movement of people to control the light sequences. This is where the relationship between people and lighting becomes apparent; without this relationship the installation undermines its purpose. Projects akin to this contribute to the innovation of lighting design, bringing together humans, their senses, and movement thereby highlighting lighting in addition to technologies such as the computer mapping and 3D software.
It encourages concentration and connectivity on a mental and physical level, the user becoming part of the installation creating a heterarchy between person and space, stimulating intrigue and inspiration (Catala, 2012). Furthermore, Future Self arguably analyses reaction to installation, an area of intrigue within a study of IL. Future Self is one of many installations that studies the subjects of light, art, and human interaction (Artingstall, 2014). Whilst not ground breaking many installations, for example: Random Internationals You fade to light have followed a similar path (Reves, 2012), it contributes to the subject whilst of high aesthetic quality. Projects such as this should be taken from the exhibition space and inserted into commercial spaces, environments, and design schemes to place the qualities of human/environment
Fig 3, 4 & 5 : Photographs taken from the Exhibition of Random Internationals Future Self light installation production at the MADE headquarters in Berlin 2012 (Random International, 2012).
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Fig 6 : Random Internationals Swarm study . A smaller more accessible Interactive installation revealed by the creative studio (Random International, 2012).
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relationships within a more accessible context. This has been achieved with success: Future self has now been iterated in the form of Swarm, a smaller and more intimate table top light installation with the same principles as Future Self. This gives the design of this and other IL projects scope to enter the wider design industry as an implementable interactive product on a more accessible scale. Creative teams, such as Random International, are forging a path for interactive light in the world of interior spaces. However light is about more than just seeing, it is about how it afects humans on a deeper level. ‘Future self studies human movement; what it can reveal about identity and the relationship we have with our own image. The installation captures movement in light creating a three dimensional, Living sculpture from the composite gestures of those who surround it’. (Random international, 2012). 6.
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Fig 7 : UK’s irst Imagination Light Canvas, Located at Birmingham Children’s Hospital (Voltimum, 2010) 7.
LIGHT: IT’S IMPACT ON HUMANS ‘[...] we also need to think back to the past, to ask ourselves if we are hampered more by brilliance than our ancestors ever were by the dark.’ (Brox, 2010) As previously stated, light is signiicant to how humans behave, and has arguably contributed to the evolution of our social habits. Light as a by product of heat has been integral to our social experience as a communal essence that continued for centuries (Brox, 2010). Reduced in size, perhaps more personal, a candle could be considered an interactive light form as we light it, and it responds to our movement. The invention and mass production of the electric light bulb arguably represents the point when the factor of heat was signiicantly reduced in the output of light thereby spelling the end of the communal reliance on the heat/light relationship. The advancements of artiicial light and technology detail social and economical change: wealth, poverty, class, and hierarchy were all reinforced with the possession of light sources (Brox, 2010). Lighting availability and the ability to build bigger homes with isolated rooms facilitates a diminishing of the social aspect of light (Otter , 2008). The sun goes down, you turn on the lights and shut out the world. The pivotal point in humans want for isolation. Light was a shared source and brought people and communities together yet this
quality has been reduced over time thereby posing the question: can lighting design in the future recapture the social efect it once held? Yet there is interest in how we have adapted to light. In public spaces and commercial buildings we expect static light and atmospheres; we expect light to merely illuminate a space; light providing no connection to the space beyond that of sight, which means to say: light bears no inluence on interaction within the space, be it those we share it with or the atmosphere itself. IL environments could change this. With the addition of interactive light, people can be engaged and stimulated, encouraged to react with their surroundings and retain the forgotten act and historical essence that is to share light and experience it with others. To cite a previous example: Random Internationals Future Self is toward proof that such projects are achievable, but we have not yet dealt with the implementation within a wider remit. Light has deeper meaning to people in many diferent ways, yet fundamentally each person shares the need for and reliance upon light’s functional purpose. The social element of light was once communal presence within its luminosity, now it seems that turning of light is more representative of a society meaning to communicate: a city turning of in memorial,
a couple in trust, the absence of light better represents the qualities of social interaction within the modern age. Zajonic (1993, pp. 8) writes ‘It [light] has been treated scientifically by physicists, symbolically by religious thinkers, and practically by artists and technicians.’ Light has many dimensions on a social level, this is something that is often via the implementation of lighting design in buildings. Given the current possibilities of the technology, each building with its individual history, and purpose could be augmented through the medium of interactive and adaptable lighting systems. Light can connect people with a space: without it a space could be seen as uninhabitable or unsociable, perhaps based on the elevation and trust that is required within an non illuminated space as we have mentioned above. If a dark thus uninviting space was illuminated with IL, it could create a dialogue between the existing space and the person within it, connecting the two. Dubbledam (PSFK, 2013 p. 14) states: ‘I think in social events it’s very interesting to use interactive light. Recognition of presence or of specific presence of people, breaks social barriers rather than confirming them.’ Lighting afects the sense of sight but also has signiicant efects on humans psychologically, and has been a factor in building design for years. 8.
The Birmingham Children’s Hospital is an example of how interactive light can adjust peoples’ moods and afect them psychologically. Imagination Light Canvas, is located at the Renal unit and consists of a 3 x 1.5 metre light panels consisting of 144 LED lights. The light panel is controlled by a computer that staf at the hospital can use to change settings. The commission was appointed to relieve children of tension, stress, and anxiety and to provide a stimulating and positive distraction from the purpose of their visit, with opportunities for children to play interactive games whilst they wait (Philips, 2009). Comparably Jason Bruges’ design practice were commissioned to create an IL design, Nature Trail, within a children’s hospital. The studio comments’ [Nature Trail] The brief was to design and install a distraction artwork helping to create a calming yet engaging route that culminates in the patient’s arrival at the anaesthetic room’ (Jason Bruges, 2012). Projects such as this are toward proof that creating IL displays in public spaces is a positive advancement in the design industry. Creating lighting systems that are intelligent, can adapt, and be customised to accommodate peoples’ moods and feelings, or mimic an appropriate lighting scheme dependent on the time of day and location could, in the future, be a way of controlling issues such as Seasonal Afective Disorder (SAD), and stress levels in social and public spaces. Within Northern regions of the Northern Hemisphere, clinical depression is more abundant within society based upon the lack of natural light. Treatment for this disorder is based upon light: patients sit by a light source for a given period, and/or are given caps to wear with light sources integrated into the visor (Piotrowski, et al. 2013). This is something that could be addressed within a lighting scheme. Research has proven that the use of low-intensity blueenriched white light improves the treatment of SAD (Meesters, et al, 2011), responding to studies and integrating particular light types could help to ease the symptoms. Taking into account location and environment, such as large oices or shopping centres, where there statistically will be suferers of SAD, the use of adaptable and intelligent lighting systems could help to prevent or decrease the impact of the disorder in social environments. 9
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Fig 8 : Another photograph of the Imagination Light Canvas, installed in Birmingham Children’s Hospital, to clam and distract patients whilst staying on the ward (Philips, 2009) Fig 9 & 10 : Nature Trail: Interactive LED wallpaper installed within another children’s hospital ward. With the same positive intentions to relieve patients from stress and worry (Jason Bruges, 2012)
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LIGHT: TECHNOLOGICAL PROGRESSION ‘Soon now, the giant tinkling of a broken filament will become another sound of another century. But for the moment, Stubborn devotees of the Edison’s light remain.’ (Brox, 2010, pp.267) The advancement of Lighting technology has been gradual but has never completely converted beyond that of ‘Edison’s light’ (Brox, 2010). Is a ixed light on a ceiling or a wall still relevant; does it engage the technologically advanced world? Lighting designer Downey (2012, pp.98) states: ‘Evolving technology and innovate idea will force us to reconsider how our surroundings need to work.’ Additionally, Otter (2008, pp3) states: ‘The history of illumination technology is not a linear history of progression from candles to oil, gas and finally electricity. In the nineteenth century, and well into the twentieth, all these technologies coexisted’. Today we still widely continue to use dated technology to illuminate spaces, from homes
to commercial buildings. The majority of buildings still use the generic one point light switch and incandescent light bulb or luorescent tube technology (Philips Color Kinetics, 2014). This suggests that the greater mentality toward lighting is too dated, due to the electric light bulb being a readily available, habitual, cheap option to buy, it remains an efortless yet uneducated choice. Nulty (2012 pp.85) states: ‘The industry has seen relatively little change for almost a century’. The light bulb, now over 130 years old, has been proven to be ineicient and limited in its design scope therefore reinforcing statements calling it dated (Energy Saving Trust, 2014). Even though it has been developed over the years, with eforts to make light bulbs more energy eicient, it is not the latest technology and other technology, such as the LED, OLED, and projection are by far more sustainable and adaptable. Through the use of 3D and
sensory technology, which can be interpreted through the physicality of human interaction, a paradigm shift in design is foreseeable, which could lead to the redundancy of the light switch with the move toward reactive light. The LED is an established technology invented in 1962, the technology was irst used in digital displays (for example: as watch and calculator displays), and over the years advanced to an industry standard lighting scheme used worldwide (The Royal Swedish Academy of Sciences, 2014). LEDs are small plastic bulbs with semiconductor material that illuminates when electrons move through it. The lights have no ilament so they cannot burn out, and produce very little heat making them safer to use and more economical unlike the incandescent bulb that only uses approximately 10% of its energy to create viable light (Philips Color Kinetics, 2014). LED lighting has its draw backs: the light source is still being developed to create greater light
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Fig 11 : An example of LED and digital technology. Pictured: Contemporary artist Jim Campbell’s Light Topography Wave (Behringer, 2014). Fig 12 : An example of OLED and digital technology. Pictured: You Fade to Light A collaboration between Random International & Philips Lumiblade , A wall of interactive OLED tiles (Random International, 2012) 11.
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quality (luminous lux), it is considered as a cold light for its bluish tint and can only project light in one direction (Brox, 2010). Furthermore LEDs are up to 10 times as expensive than traditional sources (Brox, 2010), this in particular is cited as a reason for not converting to LED. Most modern LEDs have been designed to be compatible with existing ittings in buildings, nevertheless not all are compatible, another negative factor. Despite, these issues are not halting the rapid development and implementation of the LED, rather the opposite. To back up the success of the LED technology, this year the inventors of the blue LED light source were awarded the Nobel Prize in Physics 2014. Within the Nobel Prize report, Royal Swedish Academy of Sciences state: ‘Isamu Akasaki, Hiroshi Amano and Shuji Nakamura are rewarded for inventing a new energy-eicient and environmentally friendly light source – the blue light-emitting diode (LED). In the spirit of Alfred Nobel, the Prize awards an invention of greatest beneit to mankind; by using blue LEDs, white light can be created in a new way. With the advent of LED lamps we now have more long-lasting and more eicient alternatives to older light sources.’ (2014, p.1) The design industry is now beginning to realise the potential to innovate using the LED , yet the development of the OLED (Organic Light Emitting Diode) is challenging this. Similar to LED this product is utilised within the industry with designers and architects beginning to use it. OLED is a source of light created by layering organic chemical ilms to create panels that are then illuminated with electrical current (Metalgrass Software, 2014). The diference to other light sources is that this is a surface, as opposed to a point light source; the panels are reduced to 1.8 millimetres currently and expected to become thinner. Yet this technology is not expected to replace other light sources but it has unique function due to its dimensions. 12.
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CASE STUDIES The irst of two case studies is a site-speciic interactive light installation Flylight, designed by Amsterdam duo Ralph Nauta and Lonneke Gordijn, who form Dutch based studio Drift. The practice focuses on nature and science, combining the two to create their products. Flylight, initially revealed in 2007, is created from suspended glass tubes, custom ittings, and computer software and emulates the locking movement of birds. The interactive part of this design is subtle: when approached, the presence of people afects the movement of the lock; the more persons present the higher the efect. This project is of relevance and demonstrates the adaptability of interactive pieces through its evolution over its lifespan. Interestingly the design originally consisted of halogen bulbs with the design evolving to utilise LEDs in 2013 (Studio Drift, 2013). Furthermore the design is present in a variety of spaces, commissioned for private residences in Russia and Africa, to occupy public spaces such as the Pavilion of Art and Design in Paris and a Technology business centre in the Netherlands. The variety of spaces pays homage to the adaptability of this and other IL designs, demonstrating this through site-speciic designs that create greater scope for space and client compatibility. 13.
FLYLIGHT 15
Fig 13, 14 & 15 : Studio Drift’ Flylight pictured left - right: Private house in Russia, Hi Tech campus in Eindhoven & pavillion of Art and Design Paris (Studio Drift, 2013).
The installation of Flylight into the Hi Tech Campus in Eidenhoven spans 4 loors and was commissioned to create a connection between the diferent companies that share the space, the connection through movement representing scientiic exchange. ‘Flylight is a poetic and interactive light installation, monumental and fragile, illuminating and deploying patterns at the discretion of the viewer. This installation welcomes each visitor to the campus building, creating a dramatic and dynamic display in the entrance area.’ (McNamara, 2013). Through its adaptability, Flylight has proven it is more than an exhibition piece and can be integrated into a variety of commercial spaces thereby resolving issues highlighted in discussion of Random Internationals Future Self. However, the social impact does not appear to be the main focus of this design, and is merely a by product of its artistic and scientiic intentions; the art and design outweigh the interactive element to this piece. Yet whilst apparent, the design maintains a provocation of playfulness with interaction from people, maybe a subconscious engagement, Flylight is afected by human presence. 14.
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The second study discusses Interference. A competition in 2014 wherein designers were challenged to create a one of installation within a 36-meter long tunnel in the city of Kolding, Denmark, Studio Kollision’s Interference difers greatly from Flylight. Interference’s design compromises of steel framed interactive LED lighting boxes that are covered in panels of white lumino, which run down both sides of the tunnel walls. The lighting is controlled with motion sensory technology to interact with the users of the tunnel. What separates Interference from similar designs is that it is a permanent installation unlike many interactive tunnels: for example the temporary Dobpler installation in Norway. The project was commissioned for the European City of Culture 2008. It consisted of an LED interactive public light system that was installed into an urban tunnel. The intention to create energy eicient light in a public space that was only triggered when people were present, but also to inject and element of fun to the space and a sense of safety (Nullohm, 2008). A scheme seeking to bring interactivity into a community’s urban landscape, intending to promote positive social behaviour, and well being. The idea for the design derived from the notion that there are two conlicting emotions, Kollision state: ‘[Interference represents] an urge to belong and be part of a community and an opposing desire to be alone and anonymous in the middle of the rush.’ (Kollision, 2014). As someone enters the space a light will appear in front of them and lead them through the tunnel, when more people enter the light reacts, creating a light to appear between the parties. The 15.
INTERFERENCE 18
Fig 16, 17 & 18 : Interference: interactive installation by Kollision. Commissioned to create an awareness of space and others around in an urban location (Kollision, 2014). Fig 19 (Below) : The temporary Dobpler Installation, Norway 2008. LED and interactive technology. Created shadows from light (Chapa, 2008).
intention is to make people aware of themselves interfering with they’re surroundings and also others within the space, creating social, and spatial awareness (Holmes, 2014). The project is an example of how IL can be used on a social level, engaging people within a space. The design intentions are relevant within society; there is consideration of a greater purpose. However the aesthetics difer from those pieces originally found in the gallery space; they are non-luxurious and simple due in part to the urban location. Aesthetic is considered but the design chooses to elevate people and space, seeking to form a dialogue between the two. Flylight and Interference difer primarily in the balance between aesthetics and the intentions of the interactivity. Flylight actively seeks beauty, delicacy, and provocation, something to bring together people whilst they stand and admire. Interference is there to make people feel safe, together, and to question inhabited space whilst forming dialogue with the surroundings. Both IL installations are successful within their own markets, this is positive in itself as there should be a variety of applications of IL designs and schemes available. 16.
INTERACTIVE LIGHTING IN THE FUTURE With generations shifting more and more to a digital lifestyle, companies and designers seek to ind new ways to stimulate people to enter spaces (Song, 2009). Light is more than a tool to illuminate darkness; it is something that designers, artists, and architects have interrogated for years. The concept of interactive light is lexible; it can be created using varied technologies and designed on a variety of scales to it purpose and space, creating a bespoke narrative for its environment. Regeneration of disused or dysfunctional spaces is of pertinence within a design industry that is increasingly environmentally conscious. IL technologies can be utilised to recapture or reinvent space whilst transform the way in which occupants of a space engage, both with the space itself and those they share
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it with; a dialogue between space and person, or space and people. Halo Lighting Design’s Clink Street tunnel, South London is a project consisting of an interactive lighting display installed within 135m2 of Victorian archway. The system is made up of Philips Color Kinetics 9600 LED nodes, 7m above ground and is able to create 2D and 3D images that respond to the traic low of pedestrians within the tunnel. The project was commissioned to regenerate the area, Southwark council states: ‘Southwark will become famous for the way it has transformed spaces that were previously dark and unattractive into bright and interesting routes for people to enjoy and walk through. Not only do the tunnel installations in many of the borough’s historic
railway arches enhance the original structures, they also provide a safer environment for pedestrians during the evening.’ (Evans, 2010) IL systems can also be used for guidance purposes with walls responding to the presence of a person, encouraging them to interact with the space, following a certain wall or direction that they may not have otherwise taken. This creates a dialogue wherein light guides people and the people guide the path of light and the experience of an environment is bespoke with every subjective encounter. IL design considers future potential bringing sustainability as an additional quality to lighting schemes in commercial and public spaces; versatile interactive systems that respond to cultural change that therefore remain relevant.
Fig 20: Clink Street Tunnel: Installed with interactive light to regenerate the area and create a feeling of safety (Redshift Photography, 2015). Opposite page: Diagram created by author.
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CONCLUSION With intelligent and Interactive Lighting technology available to the commercial design industry, it seems a natural progression that companies are interested more in technologically advanced lighting schemes to engage the occupants of their spaces. However it is the responsibility of the design industry to continue to utilise lighting technologies to create a narrative, and to connect people on a personal level through the creation of unique experience. What has become apparent from this report is that artiicial light’s origin has sculpted a world dependent upon and efected by their light sources. Companies such as Philips and LG Chem are striving to innovate light products for the industry; designers have an opportunity to utilise innovative technologies to implement change. Lighting is important, this is irrefutable, we need it in the modern digital era to function and evolve. A successful IL system should consider location, appropriate scale, and functionality, moving beyond artistic accolade. It should alter a space for the better to make a diference in a new or existing space. However these requirements are not strict, Flylight and Interference adhere to their difering purposes yet maintain a similarity so far as they are IL systems working toward similar goals. This report details the potential for Interactive Lighting technology in the design world, whilst considering that each space and building, like its occupants, is individual with unique requirements. It should be used as a platform in areas of need or with potential to create positive experience. There is a higher purpose, not just a twinkly wall or beautiful sculpture, but a dialogue between person and space, and between strangers and the space they share, that without an IL system might be otherwise unexplored or uncommunicative. DIALOGUE Artiicial Light maintains its signiicance to people in the world, however it is time to change the way in which people perceive lighting within spaces. Interactive Lighting is a potential future means in breaking social barriers & creating contemporary and engaging spatial environments for commercial design. The everchanging world of technology continues to create potential for lighting design to be readily interactive and adaptable, creating dynamic environments that engage and stimulate a modern society and sustain future trends. With 2015 deemed the International year of light this calls for organisations, and creative persons to promote the possibilities of Interactive Lighting Technology, to educate others in the industry of this developing future for illumination, it is the responsibility of the designer to realise this potential. 18.
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