Lightscape, Colour & Human Response

LIGHTSCAPE, COLOUR & HUMAN RESPONSE

Ramola Helena Lewis (14559065) MA Interior Architecture and Design | Research Essay University of Lincoln United Kingdom June 2016

TABLE OF CONTENTS 1

LIST OF TABLES ........................................................................................................................................ 2

2

LIST OF FIGURES ...................................................................................................................................... 2

3

INTRODUCTION ......................................................................................................................................... 3

4

STRUCTURE ............................................................................................................................................... 4

5

RATIONALE ................................................................................................................................................ 4

6

RESEARCH QUESTION ............................................................................................................................. 5

7

AIM .............................................................................................................................................................. 5

8

OBJECTIVES .............................................................................................................................................. 5

9

LITERATURE REVIEW ............................................................................................................................... 5 9.1

LIGHTSCAPE SHAPING SPACES ................................................................................................................ 5

9.2

COLOUR PERCEPTION & MOOD STUDY .................................................................................................... 9

9.3

STUDY OF HUMAN RESPONSIVE LIGHTSCAPE AND CHROMATIC ENVIRONMENTS THROUGH CASE STUDIES... 12

10

9.3.1

Case Study 1: M&M’s World, London, United Kingdom ................................................................ 12

9.3.2

Case Study 2: Snog, London, United Kingdom ............................................................................. 14

METHODOLOGY ...................................................................................................................................... 16

10.1

REASONS FOR CHOOSING MIXED RESEARCH METHOD ........................................................................... 16

10.2

DATA COLLECTION PROCESSES............................................................................................................ 16

10.2.1

Unstructured observations: time, place and participants ........................................................... 16

10.2.2

Interviews ................................................................................................................................... 17

10.2.3

Visual Media Documents ........................................................................................................... 18

10.2.4

Acquiring informed consent ....................................................................................................... 18

10.2.5

Mixed research method analysis ............................................................................................... 18

10.2.6

Ethics and Limitations ................................................................................................................ 19

11

CONCLUSION ........................................................................................................................................... 21

12

REFERENCES .......................................................................................................................................... 22

13

REFERENCES (IMAGES)......................................................................................................................... 23

14

APPENDIX 1 ............................................................................................................................................. 24

15

APPENDIX 2 ............................................................................................................................................. 25

15.1 16

INFORMED CONSENT FORM .................................................................................................................. 25

APPENDIX 3 ............................................................................................................................................. 28

16.1

SAMPLE CASE STUDY OBSERVATION LISTS AND SEMI-STRUCTURED QUESTIONS ....................................... 28

1

1 LIST OF TABLES Table 1 Influence of colour on mood and perception (Bright & Cook, 2010, p. 111) ........................ 10 Table 2 Details of the case study (Edited by Author) ....................................................................... 17 Table 3 Details of the case study (Edited by Author) ....................................................................... 28

2 LIST OF FIGURES Figure 1 Colours, Light And Shadow (Author’s Image)...................................................................... 3 Figure 2 A Cross Section Of The Human Eye (Wrench, Et Al., 2012) ............................................... 5 Figure 3 Koshino House By Tadao Ando (Anon., 2015) .................................................................... 6 Figure 4 Neanderthal Museum By Estudio Barozzi Veiga. Piloña, España (Anon., 2015) ................. 7 Figure 5 Conceptual Portrayal Of Right Side Brain And Left Side Brain. Right Side Brain Is Considered More Creative And Colourful Whereas The Left Side Brain Is Technical And Rigid (Author’s Image) ............................................................................................................................... 8 Figure 6 Chakra Colours And Meanings (Anon., 2009) ..................................................................... 9 Figure 7 The 'Colour Experience Pyramid' (Mahnke, 1996, P. 11) .................................................. 11 Figure 8 The Main Attraction (Bô, 2012) ......................................................................................... 12 Figure 9 Red Zone (Anon., N.D.) .................................................................................................... 13 Figure 10 Entrance To The Store (Masters, 2013) .......................................................................... 13 Figure 11 Entrance To The Shop (Anon., N.D.) .............................................................................. 14 Figure 12 Interior Blue Lighting (Anon., N.D.) ................................................................................. 15 Figure 13 Interior Orange-Yellow Lighting (Anon., N.D.) ................................................................. 15 Figure 14 Interior Purple-Pink Lighting (Anon., N.D.) ...................................................................... 15 Figure 15 Merge Of Coloured Spaces Of Exterior And Interior In The Presence Of Sunlight (Author’s Image) ............................................................................................................................................ 20 Figure 16 Semi-Structured Questions ............................................................................................. 28 Figure 17 Observations Details Of The Case Study Related To Light ............................................. 29 Figure 18 Observations Details Of The Case Study Related To Colour (Part 1).............................. 29 Figure 19 Observations Details Of The Case Study Related To Colour (Part 2).............................. 30 Figure 20 Brief Description And Overview Of The Case Study (Part 1) ........................................... 30 Figure 21 Brief Description And Overview Of The Case Study (Part 2) ........................................... 31

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3 INTRODUCTION Visual perception creates experiences. Lightscape and colour, being an integral part of this perception are inseparable and play a vital role in architecture today. Both disciplines play a major impact on human response covering the psychological and physiological welfare especially within interior spaces. Also, advancement through different disciplines today including technology, psychology, architecture, and human factors is seen in

light and colour.

Light is inspiring. It changes the appearance of the spaces by throwing in light and shadow, thus defining every nook and corner which gives a unique meaning to it. Colour, on the other hand, can shape form and transform.

Colour perception by the human eye creates sensations that further activates thoughts and alters the mood of a person based on the chromatic surrounding environment.

The merge of lightscape and colour in design of interior spaces may aid the

creation of a story and leave an emotional impression on every user. The importance of lightscape and colour in architecture also includes providing visual comfort, ergonomics for interior spaces and the special needs of visually impaired people. The opus of light reflected from chromatic surfaces stretches the knowledge of the architectural world, setting parameters and provides directional motion through the interior spaces.

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FIGURE 1 COLOURS, LIGHT AND SHADOW

4 STRUCTURE This research essay is comprised of a series of sections giving a profound vision into the topic. Section 5 is the rationale which gives an understanding into the justification in terms of importance, thoughts and human responsive design issues faced leading to the research question. Following this, the aim and objectives of this research are discussed, which detail the approach towards this topic.

Furthermore, the literature review delivers the context with regard to the lightscape, colour and human response in the design of interior spaces. As such it is in three parts: 

An overview of how lightscape shapes spaces in the design of interior spaces.



An explanation of colour perception and how it affects the mood of a human being.



A study of human responsive lightscape and chromatic environments through case studies in the 21st century.

Section 10 deals with methods that will be employed to collect data to achieve the various objectives mentioned. This is followed by expressing the various ethics and limitations that could be faced during the fieldwork for the research process.

The conclusion includes considerations and outcomes, by using the specified methodology to achieve the aim of the research, exploring a relationship between lightscape, colour and human behaviour in interior spaces.

5 RATIONALE Architects have always considered light and colour as two different aspects. In practice, they often strive to design areas with natural lighting from the sun. However, not all colours in a built form will be highlighted to their best visuals by daylight. Quite often, artificial lighting brings out the applied coloured surface creating a unique genius loci for the space.

Another issue faced is the role of colour in the built form being given a cosmetic role as people deny that its presence affects them. Designing interior and exterior spaces of a built form should also be carefully designed concerning human response to these spaces.

For these reasons, the topics are looked into further to understand the importance of the relationship between light and colour in design of interior spaces, quantitative measure for introduction of the merge of light and colour defining the spaces and how it alters human behaviour respectively through cases studies.

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6 RESEARCH QUESTION How does the phenomenon of lightscape and colour in interior spaces affect human behaviour?

7 AIM To explore the relationship between lightscape, colour and human behaviour in interior spaces.

8 OBJECTIVES 

To understand lightscape in design and how the presence of light and shadow in interior spaces is a crucial factor through a literature review and quantitative results from case studies.



To explore the different human responses to colour in interior spaces through observations and interviews from case studies.



To determine the necessity of lightscape and colour in the design of interior spaces based on human response in the 21st century through case study examples.

9 LITERATURE REVIEW This section gives an insight into lightscape shaping spaces and how light and shadow in interior spaces is a vital factor in design, an in-depth study of colour perception and mood study and the study of human responsive environments based on these two fundamentals with the aid of case studies.

9.1 Lightscape shaping spaces Natural beauty in the environment is perceived only by the presence of light. It stirs the virtual world around us making architecture more remarkable and it is exploited further by human behaviour.

“Light is the most fundamental of materials; without it, form cannot be visualised, space cannot be appreciated and atmosphere cannot be created.” (Brooker and Stone, 2008: 70) The entire spatial experience in one’s lifetime is built by the eye and mind alone that results in unique individual perception.

Spaces are visible through reflection of surfaces where the light enters the eye that touches the sensitive receptor cells in the retina which initiate sensations and reach the brain creating images in the mind (see Figure 1) (Michel, 1996).

FIGURE 2 A CROSS SECTION OF THE HUMAN EYE (WRENCH

5

ET AL., 2012)

The genesis of life creating memory of a place is the soul presence of sunlight. However, with technological improvisation over the years, artificial light is being widely used in man-made spaces to enhance architecture and design in interior spaces to appeal to human behaviour.

There is a remarkable difference between sunlight and artificial light. Sunlight being the balance white light plays a vital role in the biological process in the living environment.

Whereas artificial light is mainly utilized within enclosed man-made spaces replacing natural light and it also has varied spectral properties (Mahnke, 1996).

One of perceptions of spatial depth in the design of interior spaces is the formation of light and shadow which creates a distinctive experience defining the function of the space and interaction with the users. This formation shapes the animation of art and architectural design.

Below are examples of the Neanderthal Museum in Spain and Koshino House in Japan that depicts how light and shadow defines the spaces.

FIGURE 3 KOSHINO HOUSE BY TADAO ANDO (PINTEREST, 2015)

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FIGURE 4 NEANDERTHAL MUSEUM BY ESTUDIO BAROZZI VEIGA. PILOÑA, ESPAÑA (PINTEREST, 2015)

In the United Kingdom, there is standard code to be followed for lighting design in spaces called ‘The Code of Lighting’ (SLL, 2009b). While designing, consideration should be given to the use of lighting and colour that enhances the spatial experience with users. In many cases lighting is vital to aid users of the space who are either blind or partially sighted. Good use of lighting in a space can help users feel safe, contented and also helps in maximising the virtual environment around highlighting the colour and design features present.

Looking further, the connection between colour and human responses and how lightscape revives both aspects and leads to the formation of a whole new experience is explored.

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FIGURE 5 CONCEPTUAL PORTRAYAL OF RIGHT SIDE BRAIN AND LEFT SIDE BRAIN. RIGHT SIDE BRAIN IS CONSIDERED MORE CREATIVE AND COLOURFUL WHEREAS THE LEFT SIDE BRAIN IS TECHNICAL AND RIGID (AUTHOR’S IMAGE)

9.2 Colour perception & Mood study Colour deals with conscious, subconscious and unconscious aspects creating experiences that are significant to human response.

“Colours acquire particular associations on the basis of prior experience and cultural background.”

(Miller and Schlitt, 1985: 73) The presence of colour connects users with the spaces around them. It allows users to be directed, emotionally and confidently. Colours are also used to project feature designs in construction. The eye is the main key to visualisation and interaction of light and colour. (Bright and Cook, 2010) Chromo therapy is the science that utilises light in the form of colour spectrum to maintain energy, health and welfare of the body. The body has seven centres of energy called ‘chakras’ and each receptive to a different colour.

Warm colours include red, yellow and orange which are used as accents to pop out neutral shades and bring excitement and joy into a space. Cool colours, such as blue, green, violet and indigo, give a more relaxed and calm feelings to the environment because of their versatility.

The diagram below depicts the seven chakras present in our body and its respective significance. For further details about each colour, refer to Appendix 1.

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FIGURE 6 CHAKRA COLOURS AND MEANINGS (NATURE CARE HOSPITAL, 2009)

Seasonal Affective Disorder (SAD) has become a very common problem nowadays, especially in the United Kingdom, where there is lack of sunlight. Thus, this has given rise to psychological diseases, mainly in the form of depression. (Azeemi and Raza, 2005) Colour related moods affects user’s experiences, features, thoughts and culture. In the table below, the mood/effects of colour are summarised as generally seen in the United Kingdom.

TABLE 1 INFLUENCE OF COLOUR ON MOOD AND PERCEPTION (BRIGHT AND COOK, 2010: 111)

Perception of colour constitutes experience. There are six basic interrelated factors as illustrated below in the ‘Colour Experience Pyramid’. Personal experience deals with the significance of a colour emotionally to the user in a space. Influence of trends, fashions and styles emphasises the materialistic vision of the technology driven world of today. Cultural influences and mannerisms highlights and projects cultural differences amongst different cities across the world. Conscious symbolism explains the peculiar metaphors, for example, blue sky and red carpet. Collective unconscious defines memory of a place amongst humans. Biological reactions to stimulus elaborates on wavelength and chromatic environment (Mahnke, 1996).

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FIGURE 7 THE 'COLOUR EXPERIENCE PYRAMID' (MAHNKE, 1996: 11)

To understand more in-depth, the following case studies namely - M&M’s World, London, United Kingdom and Snog, London, United Kingdom were particularly chosen since both commercial buildings are designed with the use of lightscape and colour throughout the internal spatial experience.

They also have different internal functions within the structure, thus analysing them would help to get an idea of how the practice has been carried out successfully covering all the topics mentioned through the literature review. Another reason for the choice of the case studies is the different scales of each project which would aid in understanding how to control the usage of lightscape and colour to avoid overpowering or clustering the interior spaces respectively.

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9.3 Study

of

human

responsive

lightscape

and

chromatic

environments through case studies 9.3.1

CASE STUDY 1: M&M’S WORLD, LONDON, UNITED KINGDOM

M&M’s World opened its branch on 7th June, 2011 in Leicester Square, London. This mega-store is the largest in Europe and can hold more than 100 double-decker buses. It extents 35,000 square feet over four floors and is said to offer shoppers a retail and lively experience with giant statues of the M&M’s characters, interactive screens inside a 1960’s London Bus, video links to all floors and a wall of chocolate in a colourful expanse.

AEM Demolition designed the structure. Howe Green stainless steel panels were fitted in internal areas and for flooring, bright red resin was used in the public and retail areas, painted concrete was used in service corridors and carpeted office spaces.

A massive sweeping red staircase in the central core of the store is well-lit by a unique and vibrant M&M’s like ‘lentil’ tiered chandelier which contrasts the custom made Union Jack, constructed out of the M&M’s logo.

FIGURE 8 THE MAIN ATTRACTION (BÔ, 2012)

For the M&M’s fans, the famous characters can be visited in their “M&M’s Character Worlds,” as Red, Yellow, Green, Blue, and Orange are present live in themed, personalized in-store areas. Yellow comes off dashing as a knight in shining armour, Red thrives on attention with his sarcastic and proud heart, situated right next to the colourful gems. Green is ‘Miss Fashionista’ enjoying her very own boutique shopping area, and Blue rides a fancy sports car. Finally, Orange plays goalie in his football area, calling on all football fans around (Couchman, 2011)

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FIGURE 9 RED ZONE (THE BUILDING CENTRE, N.D.)

Along with the sensory branding of the chocolate scent wafting throughout the store, the colourful experience draws attention to all customers walking by this place. The building exterior is spanned by a curtain wall system allowing maximum use of natural lighting in the interior during the day. At night, the main attraction on the exterior is the colourful palette lighting in a wave motion quite similar to the appearance of a xylophone. Also, the same gradient lighting scheme is used for the ceiling where the colourful gems are stored.

In a day, every five minutes, approximately 20 people enter the store and spend hours over all four floors. Every child entering this store will not leave unless they have a picture clicked with each of the colourful gem structure and have bought products from the store. Other than the vibrant coloured gems being sold, other items that attract customers include the colourful merchandise in the store.

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FIGURE 10 ENTRANCE TO THE STORE (MASTERS, 2013)

9.3.2

CASE STUDY 2: SNOG, LONDON, UNITED KINGDOM

This is a small frozen yoghurt outlet in Soho, London designed by Cinimod Studio. 700 glass spheres containing LED lights hang from the ceiling, constantly changing colour.

Under this sparkling ceiling, a polished white counter spans almost the full length of the store, presenting the various fresh Snog toppings within a trendy glass cabinet.

During a typical day at Snog, about 2-4 persons visit the place for a frozen yoghurt and on being seated, they keep staring at the colourful ceiling and a sense of joy is seen on every person’s face. The flooring is tiled with grass patter to a give a feel of the green environment. Marcel Wander’s Shitake white stools have been used for the seating, arranged around tailored white tables, the reason for the furnishing to be white is to avoid the cluster of colours in the interior space. Wall behind the reception is painted in bright pink and to the left of the tilling point is a beautiful splash of colours painting lifting the interior space as a whole. Spot lighting has been used through the space as artificial lighting and the glazing helps utilize maximum natural lighting during the day. A small pantry is also present behind the tilling point.

FIGURE 11 ENTRANCE TO THE SHOP (ALAMY, N.D.)

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FIGURE 12 INTERIOR BLUE LIGHTING (ALAMY, N.D.)

FIGURE 13 INTERIOR ORANGE-YELLOW LIGHTING (ALAMY, N.D.)

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FIGURE 14 INTERIOR PURPLE-PINK LIGHTING (ALAMY, N.D.)

10 METHODOLOGY This section details the consideration that led to the research which inclines towards the mixed research methods.

10.1 Reasons for choosing Mixed Research Method It is a pragmatic research that contains the collection and analysis of both qualitative and quantitative data (Punch, 2014). Qualitative research is directed through on site field work of a live situation dealing with social experience and Quantitative data deals with numeric data through surveys and analytic data. This method will aid in merging the strengths of both qualitative and quantitative. On the other hand, compensation of each of the methods will take place simultaneously. Through quantitative research, strengths of comparisons and figurative data will be analysed and through qualitative research, strengths of social interaction and responses will be studied in detail.

10.2 Data Collection Processes 10.2.1 UNSTRUCTURED OBSERVATIONS: TIME, PLACE AND PARTICIPANTS

Unstructured observation of events, behaviours, and objects in the social setting chosen will be derived on the spot based on live events that occur at the particular time frame selected for the observation (Mulhall, 2002) at both case studies. Since both case studies chosen are commercial spaces, it aids in approaching an unobtrusive observation method, however, prior consent from the stores will be taken to avoid discomfort to users on site.

The researcher will take field notes which allows one to record the behaviour, events and surroundings on site. This will contain observations based on date, time, physical setting and details of what or who is being observed (Savin-Baden and Major, 2013).

Choice of spaces for the observation bring together the main functional uses, services, colour scheme chosen for the interior spaces and amount of light utilised in the spaces. The following are the details tabulated by the author for each of the case studies:

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TABLE 2 DETAILS OF THE CASE STUDY (EDITED BY AUTHOR)

Choice of participants for observation will be decided on site depending on what stands out for the observer and will not be decided prior.

The estimated time to conduct the case study will require a duration of one week and will achieve the best upshots during the month of April due to appropriate weather conditions, school term schedules, breathing space between interviews and travel time.

10.2.2 INTERVIEWS

Interviews are considered a common form for a qualitative research approach. Using semi-structured questions will help in revealing a thematic, topic-centred and biographical approach of the interviewee and emotional experiences in-depth without restrictions, thus possessing a clear agenda (Crow, 2013).

Such questions will allow the user to possibly think deeper, however the pressure is on the researcher to analyse and code the information received correctly during analysis of the data.

Choice of participants for the interview shall be contemporary users of the site since the main goal of this process is to understand their connection with the place in a still time frame only. The number of people that is aimed to be interviewed in a day for each case study is approximately 5, for a duration of 15 minutes each.

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The questions are as follows: 1. Why does this place attract you to visit/work in everyday?

2. What are your favourite colours and why?

3. Why do you prefer the bright lighting during the day from the sun and the artificial lighting at night when visiting this store/working here?

4. What is your favourite feature of this place and why?

5. Is there anything, you would wish the place had in terms of interior spaces?

10.2.3 VISUAL MEDIA DOCUMENTS

Research-produced visual media shall include photographs, video recordings, audio recordings and sketches on site during fieldwork and will be used to study the present day state of the site.

10.2.4 ACQUIRING INFORMED CONSENT

This is an essential part of this process as not all participants will share their insights or be comfortable in complete transparency with the observer/interviewer. Therefore, before commencing the interview and observation process, a consent form will be signed by the respective case study site and participants for the interview on the spot.

The consent form will cover subjects defining: purpose of the research, details about the research study, types of participants involved, responsibilities as an interviewer, voluntary aspect and confidentiality of the participant and contact details of the researcher.

10.2.5 MIXED RESEARCH METHOD ANALYSIS

For this research, mixed analysis would be used to help understand and merge the social aspect with technical details gathered from the fieldwork to assess and result in a valid conclusion. Onwuegbuzie & Combs (2010) briefed thirteen criteria that represent choices that mixed researchers should make before, during, and/or after the conduct of their mixed analyses: 1. Rationale/purpose for conducting the mixed analysis 2. Philosophy underpinning the mixed analysis 3. Number of data types that will be analysed 4. Number of data analysis types that will be used 5. Time sequence of the mixed analysis

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6. Level of interaction between quantitative and qualitative analyses

7. Priority of analytical components 8. Number of analytical phases 9. Link to other design components 10. Phase of the research process when all analysis decisions are made 11. Type of generalization 12. Analysis orientation 13. Cross-over nature of analysis

Authenticating outcomes using quantitative and qualitative data sources simultaneously: This mixed research method was chosen to converge data from qualitative and quantitative data sources simultaneously. It comprises collecting both types of data at the same time; evaluating information using comparable concepts for both types of data; then separately analysing both types of data; and eventually comparing all results through processes jointly, thus altering the final conclusive outcome in verbalized format or analytical format, or both.

10.2.6 ETHICS AND LIMITATIONS

Ethical issues involved in maintaining privacy to each user in a space. Since observation may take time, the users in the process should not be uncomfortable in their environments. This would occur while video filming certain shots needed to get a good outcome, however if users get conscious, it will turn out inaccurate. Also, prior consent from users and the respective site chosen shall be taken to avoid discomfort or disruption of activities.

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FIGURE 15 MERGE OF COLOURED SPACES OF EXTERIOR AND INTERIOR IN THE PRESENCE OF SUNLIGHT (AUTHOR’S IMAGE)

11 CONCLUSION In conclusion, this research aimed to explore the relationship between lightscape, colour and human behaviour in interior spaces through a mixed research approach. This interpreted the social world with experiences aiding to revert to the question of the affect to human behaviour and deduced basic details for future analysis of light and colour in a space. The literature review gave a strong insight into the following: 

Spaces are defined by the people and experiences that come about, thus architecture has evolved and grown through the years along with the introduction of technology in light which has been influenced and fused with the ever changing spirit of place to create a new experience. This experience has come about with the presence of colour in a space bringing out various mood changes in people that ultimately defines character and interaction between an individual and a space.



In comparison with the two case studies, both were chosen to understand how commercial interior spaces interact with people through lightscape and colour variations. Also, both being commercial spaces had different functions that catered to crowds of all generations which makes both spaces unique individually. The percentage of warm colour palettes used in both case studies as seen from the photographs helps to bring a lively ride through the spaces.

For further research, different typologies for case studies will be looked at to understand the type of colour and lighting required to suit spaces, function and users.

As seen through this research paper, it is summarized that in commercial spaces, warm colours are often used to attract customers to showcase the products along with the interior spaces to bring enthusiasm and great shopping experience until the next visit. Whereas cool colours are used to define soothing and calming spaces for relaxation and social interaction creating a new experience.

Both aspects are possible only with the presence of light that brings life to the colours and spaces, altering each phase to bring out variations in design of interior spaces. This is important as it alters the mood of an individual in a space, which is a very delicate matter to avoid bringing a negative atmosphere overall to a user.

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12 REFERENCES Azeemi, S.T.Y. and Raza, S.M. (2005) 'A Critical Analysis of Chromotherapy and Its Scientific Evolution', December.

Bright, K. and Cook, G. (2010) The colour, Light and Contrast Manual: Designing and Managing Inclusive Built environments, United Kingdom: Wiley-Blackwell.

Brooker, G. and Stone, S. (2008) Basics Interior Architecture : Context + Environment, Switzerland: AVA Publishing SA. Couchman, C. (2011) 'Europe’s First Ever M&M’S World Store Opens in London’s Leicester Square'.

Crow, G. (2013) 'What is Qualitative Interviewing?', ‘What is?’ Research Methods series.

Guido, L. (2011) 'Color and Healing: The Power of Color in the Healthcare Environment'.

Mahnke, F.H. (1996) COLOR, Environment & Human Response, New York: Van Nostrand Reinhold.

Michel, L. (1996) LIGHT: The Shape of Space - Designing with space and light, New York: Van Nostrand Reinhold.

Miller, S. and Schlitt, J.K. (1985) Interior Space: Design concepts for personal needs, 1st edition, New York: Praeger Publishers.

Mulhall, A. (2002) 'Methodical issues in nursing research. In the field: Notes on observation in qualitative research', Journal of Advanced Nursing, vol. 41, no. 3, pp. 306-313.

Onwuegbuzie, A.J. and Combs, J.P. (2010) 'Emergent data analysis techniques in mixed methods research: a synthesis', in Teddlie, A.T.&.C. (ed.) Handbook of mixed methods in social and behavioral research, 2nd edition, Thousand Oaks, CA: Sage.

Punch, K.F. (2014) Introduction to Social Research: Quantitaive & Qualitative approaches, 3rd edition, London: SAGE Publications Ltd. Savin-Baden, M. and Major, C.H. (2013) Qualitative Research: The essential guide to theory and practice, Oxon: Routledge.

SLL (2009b) Code for Lighting, London: Society for Light and Lighting.

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13 REFERENCES (IMAGES) Alamy, [Online], Available: http://www.alamy.com/stock-photo/trendy-snog-cafe-soho.html [April 2016].

BĂ´, D. (2012) Influencia, [Online], Available: http://www.influencia.net/fr/actualites/in,local,worldlondon-palais-enfance-retrouvee,3072.html [April 2016].

Bright, K. and Cook, G. (2010) The colour, Light and Contrast Manual: Designing and Managing Inclusive Built environments, United Kingdom: Wiley-Blackwell.

Mahnke, F.H. (1996) COLOR, Environment & Human Response, New York: Van Nostrand Reinhold.

Masters, A. (2013) Cornetto Collective, 20 May, [Online], Available: http://cornettocollective.blogspot.co.uk/2013/05/case-study-m-world.html [April 2016].

Nature Care Hospital (2009), [Online], Available: http://www.naturecarehospital.org/ [March 2016].

Pinterest (2015), [Online], Available: http://fuckinggoodimages.tumblr.com/post/109855963659/moodboardmix-neanderthal-museum-byestudio [March 2016].

Pinterest (2015), [Online], Available: https://in.pinterest.com/pin/323555554452299615/ [March 2016].

The Building Centre, [Online], Available: http://www.buildingcentre.co.uk/case_study/m-m-s-worldlondon [April 2016].

Wrench, J.S., Goding, A., Johnson, D.I. and Attias, B.A. (2012) Public speaking: practice and ethics, [Online], Available: http://2012books.lardbucket.org/pdfs/public-speaking-practice-and-ethics.pdf [February 2016].

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14 APPENDIX 1 Details about the seven chakras present in our body and its respective significance.

Red strengthens the heart, brings warmth and high levels of energy to the body, depicts love and passion, will power and determination, independence, aggression, and danger. This links to the base of the spine since it is the root cause of adrenal glands to release adrenalin.

Orange is high-spirited, linked with creative thinking, zeal, and helps in relieving repressions. It is a sacral chakra that portrays success, celebration, warmth of fire, and is considered a deity for good luck.

Yellow keeps the mind alert, produces muscle energy, pain relief, aids in digestion, healing agent, and proves to be cheerful. It derives itself from the sun and thus forms the solar plexus. It depicts knowledge, progress in goals and optimistic attitude, joy, concentration, and life-force.

Green denotes colour of nature and brings about harmony and emotional balance in the body since it is linked with the heart chakra. It cleans the soul and also the body from germs. It also portrays inner peace, prosperity, calmness and greed.

Blue is categorised as a cool colour, linked with fever, calmness and can heal any health problem affecting the throat. The throat chakra is considered a power centre for expression and communication.

It is an element of air and water, truth, loyalty, protection and patience.

Indigo purifies the blood and is a combination of cool blue that stabilizes the red. It controls the pineal gland and activates spiritual and physical perception leading to devotion. It is often linked with the strength of the third eye.

Violet speaks transformation. It heals hysteria and addictions and renews the mind and soul. It is used to depict meditation, religion power, dignity and wisdom crowning the body.

(Guido, 2011)

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15 APPENDIX 2 15.1 Informed Consent Form

RESEARCH FOR RELATIONSHIP BETWEEN LIGHTSCAPE, COLOUR AND HUMAN BEHAVIOUR IN INTERIOR SPACES RESEARCHER’S DETAILS: Ramola Helena Lewis Student University of Lincoln Brayford Pool Lincoln LN6 7TS United Kingdom Contact No.: +447341162538 Email: ramola29@hotmail.com

PURPOSE OF STUDY: You are being asked to take part in this research study. Before you decide to participate in this study, it is important that you understand why the research is being done and what it will include. Please read the following information carefully and ask the researcher if there is anything that is not clear or if you need more information.

The purpose of this study is to explore the relationship between lightscape, colour and human behaviour in interior spaces. It will involve in understanding how light and colour in interior spaces brings about mood changes in humans and its relevance in spatial experience. By conducting this interview, it will lead to discovering the experiences in different habitual frames.

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STUDY PROCEDURES: The researcher will take field notes which allows one to record the behaviour, events and surroundings on site. This will contain observations based on date, time, physical setting and details of what or who is being observed.

Choice of spaces for the observation bring together the main functional uses, services, colour scheme chosen for the interior spaces and amount of light utilised in the spaces. The following are the details tabulated by the author for each of the case studies:

Choice of participants for observation will be decided on site depending on what stands out for the observer and will not be decided prior.

The estimated time to conduct the case study will require a duration of one week and will achieve the best upshots during the month of April preferably during weekends due to apt weather conditions, leisure time for families, breathing space between interviews and travel time.

Choice of participants for the interview shall be contemporary users of the site since the main goal of this process is to understand their connection with the place in a still time frame only. The number of people that is aimed to be interviewed in a day for each case study is approximately 5 nos. for a duration of 15 minutes each.

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Questions will be put forth that will cover themes namely: striking features, personal choice for colours, spatial characteristics and lighting, materialistic views, atmospheric likes and dislikes and general experience of people who are users on site. Hence, the interview will be carried out in one shot on site using means of recording (digital voice recorder), video recording or taking notes.

CONFIDENTIALITY For the purposes of this research study, only your views, gender, profession and age will not be anonymous. Every effort will be made by the researcher to preserve your confidentiality including the following: 1. Assigning pseudonyms/numbers for participants that will be used on all research notes and documents.

2. Keeping notes, interview transcriptions, and any other identifying participant information in a locked file cabinet in the personal possession of the researcher.

VOLUNTARY PARTICIPATION Your participation in this study is voluntary. It is up to you to decide whether or not to take part in this study. If you decide to take part in this study, you will be asked to sign this consent form. After you sign the consent form, you are still free to withdraw at any time and without giving a reason.

Withdrawing from this study will not affect the relationship you have, if any, with the researcher. If you withdraw from the study before data collection is completed, your data will be returned to you or destroyed.

I have read and I understand the provided information and have had the opportunity to ask questions.

I understand that my participation is voluntary and that I am free to withdraw at any time, without giving a reason and without cost. The procedures regarding confidentiality have been clearly explained (e.g. use of names, pseudonyms, anonymization of data, etc.) to me. I understand that I will be given a copy of this consent form. I voluntarily agree to take part in this study.

Participant's signature ______________________________

Date __________

Researcher's signature _____________________________

Date __________

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16 APPENDIX 3 16.1 Sample case study observation lists and semi-structured questions

TABLE 3 DETAILS OF THE CASE STUDY (EDITED BY AUTHOR)

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FIGURE 16 SEMI-STRUCTURED QUESTIONS

FIGURE 17 OBSERVATIONS DETAILS OF THE CASE STUDY RELATED TO LIGHT

FIGURE 18 OBSERVATIONS DETAILS OF THE CASE STUDY RELATED TO COLOUR (PART 1)

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FIGURE 19 OBSERVATIONS DETAILS OF THE CASE STUDY RELATED TO COLOUR (PART 2)

FIGURE 20 BRIEF DESCRIPTION AND OVERVIEW OF THE CASE STUDY (PART 1)

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FIGURE 21 BRIEF DESCRIPTION AND OVERVIEW OF THE CASE STUDY (PART 2)

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