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Light in the outdoor area - Erco

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tune <strong>the</strong> light: <strong>Light</strong> qualities<br />

The language of light<br />

Ambient lum<strong>in</strong>escence, focal glow,<br />

play of brilliants. These are <strong>the</strong> pr<strong>in</strong> -<br />

ciples of qualitative light<strong>in</strong>g design.<br />

In <strong>the</strong> 1950s, <strong>the</strong> light<strong>in</strong>g designer<br />

Richard Kelly borrowed ideas from<br />

perception psychology and <strong>the</strong>atrical<br />

light<strong>in</strong>g and comb<strong>in</strong>ed <strong>the</strong>m<br />

<strong>in</strong>to a uniform concept for light<strong>in</strong>g<br />

design. He separated <strong>the</strong> qualities<br />

of light <strong>in</strong>to three basic functions:<br />

ambient lum<strong>in</strong>escence, focal glow<br />

and play of brilliants.<br />

Ambient lum<strong>in</strong>escence con -<br />

cerns <strong>the</strong> general light<strong>in</strong>g of <strong>the</strong><br />

surround<strong>in</strong>gs. In qualitative light<strong>in</strong>g<br />

design, ambient lum<strong>in</strong>escence is<br />

not <strong>the</strong> f<strong>in</strong>al goal but simply serves<br />

to provide a background canvas<br />

for more advanced light<strong>in</strong>g design.<br />

Ambient lum<strong>in</strong>escence responds to<br />

<strong>the</strong> basic requirement for physical<br />

orientation with<strong>in</strong> a space.<br />

Focal glow goes beyond <strong>the</strong><br />

general ambient light<strong>in</strong>g: it relates<br />

to directed light which accentuates<br />

any eye-catch<strong>in</strong>g features and<br />

creates hierarchies of perception.<br />

Important <strong>area</strong>s are emphasised<br />

while unimportant <strong>area</strong>s fade <strong>in</strong>to<br />

<strong>the</strong> background. Focal glow is used<br />

as a basic approach for <strong>the</strong> presentation<br />

of goods and objects.<br />

Play of brilliants refers to<br />

dec orative light<strong>in</strong>g effects with<br />

colours, patterns and dynamic<br />

changes which create atmosphere<br />

and magic. Possible light sources<br />

for this effect <strong>in</strong>clude light<strong>in</strong>g<br />

tools for light effects (e.g. varychrome<br />

lum<strong>in</strong>aires), decorative<br />

lum<strong>in</strong>aires (chandeliers) and light<br />

objects; neon signs and illum<strong>in</strong>ated<br />

displays also fall <strong>in</strong>to this<br />

category. It is only when ambient<br />

lum<strong>in</strong>escence, focal glow and play<br />

of brilliants are comb<strong>in</strong>ed that a<br />

light<strong>in</strong>g concept is complete.<br />

There are codes of practice and<br />

regulations for <strong>outdoor</strong> light<strong>in</strong>g<br />

that often <strong>in</strong>itially seem to restrict<br />

<strong>the</strong> possibilities. However, this is a<br />

good th<strong>in</strong>g as master plans, urban<br />

market<strong>in</strong>g or event concepts often<br />

<strong>in</strong>volve <strong>the</strong>mes and ideas that can<br />

be communicated us<strong>in</strong>g both spatial<br />

and light<strong>in</strong>g design. A successful<br />

<strong>outdoor</strong> light<strong>in</strong>g concept will<br />

be based on an understand<strong>in</strong>g of<br />

<strong>the</strong> language of light.<br />

Ambient lum<strong>in</strong>escence<br />

refers to uniform general<br />

light<strong>in</strong>g. This type<br />

of light<strong>in</strong>g, e.g. through<br />

downlights along <strong>the</strong><br />

periphery of a build<strong>in</strong>g<br />

or through uniform vertical<br />

light<strong>in</strong>g, enables<br />

<strong>the</strong> user and observer to<br />

get <strong>the</strong>ir bear<strong>in</strong>g and provides<br />

a feel<strong>in</strong>g of safety.<br />

Focal glow<br />

typifies accent light<strong>in</strong>g<br />

used to emphasise objects,<br />

<strong>area</strong>s and specific zones<br />

<strong>in</strong> a space and to create<br />

hierarchies of perception.<br />

It is a primary consideration<br />

<strong>in</strong> <strong>the</strong> illum<strong>in</strong>ation of<br />

scenery, as well as <strong>outdoor</strong><br />

and urban spaces which<br />

are <strong>in</strong>tended to attract<br />

attention.<br />

Play of brilliants<br />

is <strong>the</strong> decorative light,<br />

<strong>the</strong> light that results<br />

<strong>in</strong> surprise and amazement;<br />

it is light as an<br />

aes<strong>the</strong>tic end <strong>in</strong> itself.<br />

<strong>Light</strong> effects such as<br />

dynamic colour progressions<br />

or light patterns<br />

with Gobo projections<br />

are used to create a visual<br />

attraction. The same<br />

can be said of decorative<br />

lum<strong>in</strong>aires, light objects<br />

or neon signs which<br />

can provide <strong>the</strong> play of<br />

brilliants <strong>in</strong> <strong>the</strong> light<strong>in</strong>g<br />

concept.<br />

8 ERCO ERCO 9

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