Corporate Lighting: Methods and techniques of architectural lighting for brand communication

Thomas SchielkeDoctoral thesis from Darmstadt University of Technology

1

1 Introduction1.1 Relevance1.2 Research questions1.3 Methods1.4 Thesis structure

2 Architecture2.1 Corporate identity2.2 Semiotics in architecture2.3 History of corporate architecture2.4 Typologies of corporate architecture

3 Light and visual image3.1 Characteristics of light3.2 Perception of light and space3.3 Lighting concepts3.4 History of architectural lighting

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4 Lighting technology and types of lighting4.1 Light sources4.2 Lighting control4.3 Types of lighting4.4 Ecological and economical factors

5 Analysis5.1 Theoretical background and hypothesis for experiments5.2 Methodology5.3 Evaluation criteria5.4 Experiments in neutral interior space5.5 Experiments for interior spaces with different functions 5.6 Experiments for exterior spaces with different functions5.7 Case studies interior spaces5.8 Case studies exterior spaces5.9 Design guidelines

6 Findings6.1 Findings6.2 General experimental critique6.3 Design guidelines in practice6.4 Relevance of findings

7 Summary7.1 Findings7.2 Outlook

8 Index8.1 Literature index8.2 Image index8.3 Table index

9 Appendix9.1 Results and analysis of experiments9.2 Images9.3 Tables

Corporate Lighting: Methods and techniques of architectural lighting for brand communication

ContextMethodsAnalysisCritiqueOutlook

3

Corporate Lighting: Methods and techniques of architectural lighting for brand communication

> Challenge: Interdisciplinary connections

4

Light Perception Marketing

Context

Context

5

NameCitroënParis, 1925

Colour corporate designEssoGermany, 1998

Geometry of logoadidasBerlin, 2008

Illumination of architecture as a message from brands

Context

6

Luminaire arrangementAldi NordDortmund, 2006

Luminous intensity distributionEdekaIngolstadt, 2007

Light spectrumLa RinascenteMilan, 2007

30° 30°

60° 60°

3000 cd

Architectural lighting and perception psychology

Richard Kelly, 1952:- Focal glow- Ambient luminescence- Play of brilliants

> Lighting changes perception of environment> Basis for designing experiments

Context

7

Stage lighting for creating atmosphere

Stanley McCandless, 1958:- Visibility- Revealing form- Good composition- Atmosphere

> Lighting for story telling

8

Context

Corporate Identity

Corporate Design

Corporate Architecture

Corporate Lighting

Marketing:Corporate communication

- Brands communicate their identity for differentiation- Visual elements contribute to building an identity

> Usage of design guidelines for lighting to install corporate identity

9

Context

Marketing analysis

- Sociology: Social milieus as model for life style of target groups- Marketing: Personality to describe characteristic brand attributes

> Examining the effects of lighting in regard to communication models in marketing

10

Context

Research questions

Corporate visual image

4. Investment costs

1. Perception of light

2. Types of lighting

3. Coloured lighting

Price perception

11

Context

Stimulus- Space- Light

Response- Attribution

Independent variables- Lighting- Environment

- Visual perception- Individual differences- Cultural context

Dependent variables- Light- Social milieu- Brand personality

Model

Methods

Process- Psychobiological

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Pro- Controllable variables- Close to reality

Contra- High costs for using variations- Fixed site

Pro- Controllable variables- Flexibility- Online surveyContra- No 3D perception of space

Pro- Close to reality

Contra- Environmental effects- Variables non- controllable

Pro- Close to reality

Contra- Representativeness

ExperimentsReal space

Case studiesReal space

SurveyReal space

Methods

Simulation

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Methods

LightTypes of lightingColoured lightingDynamic lighting

LightTypes of lightingColoured lighting

ExperimentsReal space

Variables, independant

Simulation

14

Methods

LightTypes of lightingColoured lighting

SpaceMaterialArchitecture

Variables, independant

Simulation

15

Methods

Social milieuBecker & Nowak, 1982

Pro- repeated implementationContra- no spatial pattern

Pro- widely spreadContra- inner consistancy

Pro- tested for architectureContra- not yet widely spread

Brightness

Variables, dependant

Colour temperature

Contrast

Chromaticity

Price

Style

Temperament

Competence

Attractiveness

Naturalness

Brand personalityAaker, 1997; Raffelt, 2012

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LightTiller & Rea, 1992

Methods

Experiments- 16 experiments- 210 light scenes- 30% real space, 70% simulations- 56% white light scenes, 46% coloured light scenes

Probands- On average n = 30 per stimulus, min. 14, max. 99- Mean age: 26- 59% women, 41% men

Overview experiments

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Evaluation- Max. 8 scenes per test group- Evaluation after each light scene- Likert scale, 7 points- 2 items per Index

Methods

- Conformity for 7-8 of 10 indexes between reality and simulation- Difference mainly applies to colour, but hardly brand image- Option: Colour calibration

> Image techniques provide valid basis for brand indexes

Validity

Display screen≠ Colour temperature≠ Chromaticity

Video projector≠ Colour temperature≠ Chromaticity≠ Naturalness

Reality

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Methods

Analysis: Experiments

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Types of lighting Social milieu Brand personality+

Price

Style

Temperament

Competence

Attractiveness

Naturalness

General lighting

Wall washing

Accent lighting with projection

Accent lighting

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Wall washing

Accent lightingwith projection

Accent lightingGeneral lighting

+

Analysis: Experiment #8

Types of lighting Social milieu Brand personality

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3,0

3,5

4,0

4,5

5,0

5,5

6,0

+

3,8

4,3

4,7

4,8

Types of lighting Social milieu Brand personality

Analysis: Experiment #8

22

3,0

3,5

4,0

4,5

5,0

5,5

6,0

+

3,8

4,3

4,7

4,8

Friedman test:No significant results

Types of lighting Social milieu Brand personality

Analysis: Experiment #8

23

3,0

3,5

4,0

4,5

5,0

5,5

6,0

+

3,8

4,3

4,7

4,8

5,75,5

5,0

Friedman test:Significant results

Types of lighting Social milieu Brand personality

Analysis: Experiment #8

24

3,0

3,5

4,0

4,5

5,0

5,5

6,0

+

3,8

4,3

4,7

4,8

5,75,5

5,0

3,73,8

Friedman test: Significant results

Types of lighting Social milieu Brand personality

Analysis: Experiment #8

25

3,0

3,5

4,0

4,5

5,0

5,5

6,0

+

3,8

4,3

4,7

4,8

5,75,5

5,0

3,73,8

Types of lighting Social milieu Brand personality

Analysis: Experiment #8

Spaceneutral

Interiors

Space neutral

Interiors

Limitations: Based on 95% accordance of significant results. Significant results not for all experiments. Low speed used for dynamics.

Social milieuPrice Style

Brand personalityTemp. Comp. Attract. Naturl.

General

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+ Types of lighting

Analysis: Experiments #1-16

Types of lighting

- Conformity of results from light lab and interior application experiments with interior case studies

Analysis: Case studies

Supermarket Fashion retailComputer stores

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Influence environment

- Wall materials, furniture and neighbouring buildings partially change corporate image factors- Limitation: Limited number of variables

> Environment has partially influence on corporate image

Analysis: Experiments

Wall materials

Furniture

28

Investment costs and price perception- Hight investment costs do not necessarily result in a higher price perception - Planning enables high price perception without maximum budget

> Value of lighting also includes value for brand communication

Analysis: Experiments

29

0 500 1000 1500 Total cost per year EUR/a

6,0

5,5

5,0

4,5

4,0

3,5

Price perception

Design guidelines in practice - Automotive industry- 7 of 10 automotive companies use design guidelines for lighting- Survey: In Germany active automotive companies with 3800 showrooms. 2009: 66% share of new car registrations> Widely spread usage of design guidelines for light in automotive segment

Analysis: Survey

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Design guidelines in practice - Automotive industryRelevance for corporate design in general:Logo/Brand nameMaterial of the interiorFurnitureLightColour conceptsDecoration objectsBuilding type/ConstructionVisual displaysMusic

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7,0

6,1

5,7

5,4

5,4

5,0

4,7

3,9

3,7

Analysis: Survey

Evaluation of findings

- New interpretation of lighting as a message- Closing research gap between light, architecture and marketing- High relevance for brand communication- Valuable basis for various brand concepts

Critique

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Method

Pro- Broad focus- In relation to existing models- Proof of causal relations between light and brand- Results mainly base on multiple experiments - Close to reality due to realistic simulations and case studies

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Critique

Method

Contra- Simulations allow limited spatial perception - No calibration of probands before tests for evaluation criteria- Coloured lighting was used with a limited number of variables- Few causal effects for brand values based on light perception factors

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Critique

Design guidelines for lighting in practice

- Implementation is dependant on organisation: Owned showroom versus franchise- Finance programs: Promotions, sanctions- Budget assignment: Architecture versus interior design

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Critique

1. Method

- Field tests for more practice orientation as well as interactions- Increasing the test group for older age group and international comparisons - Inclusion of long term effects- Optimisation for reliability regarding index style- Testing more exteriors

Outlook

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2. Lighting design und technology

- Stronger consideration of daylight- Integration of sensors for dynamic lighting concepts

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Outlook

3. Interdisciplinary

Stronger cooperation with other disciplines:- Environmental psychology: Information models (Kaplan & Kaplan, 1989)- Semiotics: Matrix (Bense & Walther, 1973)- Medicine: Studies of neuronal effects

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Outlook

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Corporate Lighting: Methods and techniques of architectural lighting for brand communication

Thomas SchielkeDoctoral thesis from Darmstadt University of Technology. 4.3.2014

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Corporate Lighting: Methods and techniques of architectural lighting for brand communication

Online access to complete doctoral thesis:http://tuprints.ulb.tu-darmstadt.de/id/eprint/3466

Contact for correspondence:www.arclighting.de

Thomas SchielkeDoctoral thesis from Darmstadt University of Technology

- Lighting changes corporate visual image- Accentuation for modern and temperament image- Blue wallwashing increases price image, competence, attractiveness and naturalness- Accentuation or wallwashing results in higher temperament and attractiveness- Combined luminous intensity distributions lead to modernised and temperamental images- Coloured light results in a modernised and temperamental image- Dynamic saturated colours result in cheaper, less temperamental and less competent images- Lighting alters price perception- Interaction with materials and neighbourhood- Design guidelines for lighting- Semiotics for analysing interdependencies- Sustainability concept

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Executive summary

People Phillip Anzalone, Borisuit Apiparn, Edward Bartholomew, Helmut Bien, Frieder Blickle, Erik Bohr, Peter Boyce, Howard Brandston, Susanne Brenninkmeijer, Louis Brill, Jason Bruges, Jean-Luc Capron, Jimmy Chorssen, Jens Christoffersen, Acharawan Chutarat, James Crowley, Christopher Cuttle, Mike Day, Hannelore Deubzer, Johann Eisele, Agneta Ejhed, Jan Ejhed, ERCO colleagues, Oscar Falk, Family, Steve Fotios, Friends, Bernadette Fülscher, Chris Gascoigne, David Gersten, Kathleen Gibson, Paul Gregory, Axel Groß, Marit Haase, Rainer Hartmann, Simone Heinze, Harald Hofmann, Christian Hoffmann, Mareike Höhler, Swee Hong Ong, Claudia Horbert, Kevin Houser, Sabine Hürrig, Ashok Iyer, Davina Jackson, Thomas Jantscher, Jan Jennings, Noah Kalina, Bernhard Knaus, Thomas Kotzur, Simone Kraft, Michael Kröger, Agnes Krüger, Thomas Krumm, William Lam, Karin Lehmann, Dieter Leistner, Sascha Lense, Andres Lepik, Maren Leudesdorff, David Levenson, Hao Luoxi, Margaret Maile, Stephen Margulies, Estudio Mariscal, Thomas Mayer, Diana Möllenbeck, Veronika Monheim, Stephane Muratet, Birgit Nelissen, Dietrich Neumann, Jin-Wie Nie, Carolin Oelsner, Werner Osterhaus, Konstantinos Papamichael, Jens Passoth, Enrique Peiniger, Karl-Heinz Petzinka, Derek Porter, Vanessa Quirk, Ursula Raffelt, Riklef Rambow, Mark Rea, Christoph Reinhart, Peter Richter, Christian Richters, Alexander Ring, Thomas Römhild, Alexander Rümmele, Lukas Schaller, Christoph Schierz, Jeff Schnabel, Nona Schulte-Roemer, Kai Schuster, Susanne Seitinger, Jochen Siegemund, Tom Sillack, David Singer, Charles Stone, Tan Szue Hann, Mariko Takagi, Maria Thompson, Clemens Tropp, Dzmitry Tsishkou, Philippe Ulmann, Henk van der Geest, Jennifer Veitch, Marc Wathieu, Bernd Weber, Roger Weber, Joachim Wessel, Frank Widemann, Andrea Wilkerson, Lin Yi, Stephan Zielke, Anne Ziesenitz Institutions Aachen University of Applied Sciences, Aarhus University, Akademie für Kommunikationsdesign Köln, Bauhaus University Weimar, Bochum University of Applied Sciences, Bremen University of Applied Sciences, Brown University, California Lighting Technology Center, Center for Economics and Neuroscience, China Central Academy of Fine Arts Beijing, Chung Yuan Christian University, Coburg University of Applied Sciences, Columbia University, Cooper Union, Cornell University, Darmstadt University of Applied Sciences, Darmstadt University of Technology, Dortmund University, Dresden University of Technology, École polytechnique fédérale de Lausanne, Eindhoven University of Technology, Forschungsstelle Automobilwirtschaft, Harvard Graduate School of Design, Illuminating Engineering Society of North America, Ilmenau University of Technology, International Association of Lighting Designers , Karlsruhe Institute of Technology, King Mongkut's University of Technology Thonburi, KTH Royal Institute of Technology, Ludwig Maximilian University of Munich, Manipal University Dubai, Marta Herford, Massachusetts Institute of Technology, MIT Media Lab , Münster University of Applied Sciences, Nürtingen-Geislingen University of Applied Science, Parsons The New School for Design, Pennsylvania State University, Peter Behrens School of Architecture, Portland State University, Princeton University, Professional Lighting Designers' Association, Rensselaer Polytechnic Institute, Shanghai Illuminating Engineering Society, Singapore Institute of Architects, Sydney University of Technology, Technical University of Munich, Temasek Design School, Tongji University, Université catholique de Louvain, University of Applied Sciences Bochum, University of Applied Sciences Cologne, University of Applied Sciences Mainz, University of Applied Sciences Stuttgart, University of Göttingen, University of Sheffield, University of Siegen, University of Technology Sydney, University of Wuppertal, Wismar University of Technology, Business and Design, Yale University Companies Aldi Nord, Allmann Sattler Wappner, Apple, Aral, Arc Light Design, ArchDaily, archithese, ATP Architekten und Ingenieure, Audi, Barthel & Maus, Bernhard Knaus Fine Art, BMW, Citti, Commerzbank, CUA Architekten, Daimler, Dexia, Dial, Diesel, Dinse Feest Zurl Architekten, Edeka, EHI Retail Institute, Electric Gobo, Engelhardt/Sellin Architekturfotografie, ERCO, Esprit, Europcar, Fisher Marantz Stone, Focus Lighting, Ford, Galleria Department Store, Hagen Stier Architektur + Fotografie, Hertz, Hollister, Horten, ION Orchard, Jason Bruges Studio, KiK, Kohn Pedersen Fox, Kramm & Strigl, La Rinascente, Lanzillotta Translations, Leonardo, Lifschutz Davidson Sandilands, Louis Vuitton, Mazda, Mini, Motel One, MPREIS, Mr. Wash, Niessing Manufaktur, Nordic Light Hotel, Nordsee GmbH, Office for Visual Interaction, One Lux Studio, Opel, Pimkie, Pimsler Hoss Architects, Porsche, realities:united, RKW Architektur + Städtebau, Saab, Saturn, Selux, Sixt, Speirs + Major, Street One, Swarovski, Tchibo, Telekom, Tom Tailor, UN Studio, Viceroy Hotel Group, Vobis, Volkswagen, W Hotel, Zara, Zeilgalerie

for the invaluable support

Thank you

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Image credits

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1: La Rinascente, Mailand, 2007, © Lifschutz Davidson Sandilands, Chris Gascoigne; photo: Chris Gascoigne. 3: American Eagle; photo: Schielke. 4: Huntington Beach, 2013; photo: Schielke. Eye, Wikimedia Commons; photo: Rotfloleb. American Eagle. photo: Schielke. 5: Citroen: Wikimedia Commons; photo: Unknown. Tankstellen, 1998-2001. Photo: Ralf Peters. © Bernhard Knaus Fine Art. Adidas, 2008; photo: Schielke. 6: Aldi Nord, 2006, Wikimedia Common; photo: Kira Nerys. Edeka. Ingolstadt, 2007, ATP Architekten und Ingenieure; photo: Engelhardt/Sellin Architekturfotografie, München. La Rinascente, Mailand, 2007, © Lifschutz Davidson Sandilands, Chris Gascoigne; photo: Chris Gascoigne. 7-8, 28: Multifunctional room, © ERCO, Author: Axel Groß. 10: Beijing, 2013; photo: Schielke. 11: Piktograms, © ERCO. Author: Simone Heinze / ERCO. 13, 17, 18, 29: Neutral interior space, © ERCO; photo: Alexander Ring / ERCO. 13: Department store, © ERCO; Author: Axel Groß. Sixt, Berlin, 2008; photo: Schielke. Porsche Museum, Stuttgart, 2009; photo: Schielke. 14-15: Lighting simulation; © ERCO; Author: Axel Groß. 16, 18-29: Piktograms, © ERCO. Author: Simone Heinze / ERCO. 17: Survey; photo: Schielke. 18: Display screen iMac, © Apple. Image editing: Schielke. 20-24: Fashion retail stores; Author: Maren Leudesdorff / KTH Stockholm. 27: KiK Rostock, 2012. © Citti-Park. Zara. Barcelona, © ERCO; photo: Thomas Mayer. Saturn, Apple, Lüdenscheid, 2007; photo: Schielke. Apple Store Tysons Corner, McLean/VA, 2001, © Apple. 28: Material simulation, © ERCO, Author: Christian Hofmann. 30: BMW Hamburg, 2010, © Dinse Feest Zurl Architekten; photo: Hagen Stier Architektur + Fotografie. 31: Volkswagen Kassel, 2001, © Barthel & Maus GmbH; photo: Barthel & Maus GmbH. 32-35: Mannequins; photo: Schielke. 36: Zara, München, 2007, © ERCO; photo: Frank Widemann. 37: MPreis, Telfs, 2001, © MPreis; photo: Thomas Jantscher. 38: Brain, © istockphoto; image: Yakobchuk. 39: Lego store, Dubai; photo: Schielke