Lighting in Public Spaces

1 [ The use of Lighting in Urban Public Spaces in the 24 hour City ] University of Greenwich

The use of Lighting in Urban Public Spaces in the 24 hour City

in Public Spaces

Michael O’Donnell

Lighting

[ The use of Lighting in Urban Public Spaces in the 24 hour City ][ Lighting in Public Spaces ] [ U

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[ Michael O’Donnell ]

3 [ The use of Lighting in Urban Public Spaces in the 24 hour City ]

Artists using artifical light employ it as a material in and of itself, compelled by its luminous and intangible qualities.

(Lauson, Light Art: An Immaterial Material, 2013, p. 17)


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“The potential for light as monument, for civic illumination of a kind that exceeds that of mere utility, is an-nially rehearsed at festivals and celebrations, but its quotidian place is primarily understood in its use as an agency for civic pride: the floodlit facade or public artwork.”

(Bell, 2009, p.26)


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Lighting extends the life of the city far beyond nightfall, perpetuating the day’s activities while also making the metropolis a hub for leisure and entertainment.

(Bell, 2009, p. 25)


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Lighting



in Public Spaces

Michael O’Donnell

Lighting

Word Count: 8614

Student ID 000298479-2Printed by Darwin Press

DECLARATION BY CANDIDATE

I hereby declare that this thesis is my own work and effort and that it has not beensubmitted anywhere for any award. Where other sources of information have been used,they have been acknowledged

Signature: ……………………………………….

Date: …………………………………………….


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I’d like to thank Corine and all the members of PDA 3.A special thank you is due to the curator of the Light Show at the Hayward Gallery, Dr Cliff Lauson, who created a exhibition that was the perfect conclusion to my research. His exhibition allowed me to visit the work of the artists I researched and made me aware of other artists who are laying the exciting groundwork for future innovation. I owe him an immense gratitude for taking the time in responding to my emails and meeting me for a discussion. It was an absolute pleasure. Maybe one day in the future I can repay the favour by helping him to realise his ambition to pass the City and Guilds Electrical Part P! Also a special mention to Tessa who has been a great support, I look forward to developing our new friendship. I’d to thank my beautiful and very understanding future wife Laura Scott and both my parents- John and Bridget Verconica. xxx


I’d like to thank Corine and all the members of PDA 3.A special thank you is due to the curator of the Light Show at the Hayward Gallery, Dr Cliff Lauson, who created a exhibition that was the perfect conclusion to my research. His exhibition allowed me to visit the work of the artists I researched and made me aware of other artists who are laying the exciting groundwork for future innovation. I owe him an immense gratitude for taking the time in responding to my emails and meeting me for a discussion. It was an absolute pleasure. Maybe one day in the future I can repay the favour by helping him to realise his ambition to pass the City and Guilds Electrical Part P! Also a special mention to Tessa who has been a great support, I look forward to developing our new friendship. I’d to thank my beautiful and very understanding future wife Laura Scott and both my parents- John and Bridget Verconica. xxx

Acknowledgement

A special thank you is due to the curator of the Light Show at the Hayward Gallery, Dr Cliff Lauson, who created a exhibition that was the perfect conclusion to my research. His exhi-bition allowed me to visit the work of the artists I researched and made me aware of other artists who are laying the exciting groundwork for future innovation. I owe him an immense gratitude for taking the time in responding to my emails and meeting me for a discussion. It was an abso-lute pleasure. Maybe one day in the future I can repay the favour by helping him to realise his ambition to pass the City and Guilds Electrical Part P!


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Abstract

The introduction of electric lighting in the “19th and 20th centuries must be seen to be huge-ly important” (Bell, 2009, p. 26). Architects and lighting designers have a responsibility to consider the social impact of this artificially lit environment, which should be understood and explored. The research will aim to investigate the possibilities of lighting and determine criteria for evaluating further lighting designs. A selection of noteworthy artistic light installations are discussed and case studies of urban lighting installations are summarised.


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i. List of Figures and Images 7

1. Introduction 10

2. Analysis of the work of the artist James Turrell The Wolfsburg Project, Kunstmuseum, Germany 14

3. Successfully Regarded Artificial Lighting Designs The River of Light Valladolid,Spain 26

4. Case Studies The Barbican and Bow Underpass, London 36

5. Conclusion 48

9. Bibliography 57

10. Appendices 59

Contents


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List of Figures and Images

Front and back cover- Authors own images, The Barbican, London.Pages 2-3- The Wolfsburg Project from (Cantz. p. 63)Pages 4-5- The River of Lights walk in Valladolid, in Spain. http://www.mondoarc.com/news/1139540/valladolid_wins_first_prize_in_2011_citypeoplelight_awards.htmlPages 6-7 Authors own image, The Barbican, London.Fig. 1 Turrell undertook a well-publicised project on lighting effects, known as the Wolfsburg Project. (Cantz, p. 107)Fig. 2 The perception of the flat image is the room bathed in artificial light but has no outlines. (Cantz, p. 69)Fig. 3 Turrell’s earlier works of the Wedgework’s installation. (Cantz, p. 101)Fig. 4 Wolfsburg Project set amongst Japanese garden courtyard (Cantz, p. 106).Fig. 5 Olfaur Eliasson’s The Weather Project. (Cantz, p. 114)Fig. 6 Flavin’s colourful florescent tubes served as the material and light. http://amomentonly.blogspot.co.uk/2009/11/dan-flavin.html Fig. 7 The River of Lights walk in Valladolid, in Spain. http://www.mondoarc.com/news/1139540/valladolid_wins_first_prize_in_2011_citypeoplelight_awards.htmlFig. 8 “Spirit of a Place”- provides citizen’s with a visual comfort. http://www.illumni.com.au/2011/12/rivers-of-light-2011-city-people-light-award-winner-by-rafael-gallego-aureolighting-and-lara-el-baz/Fig. 9 The use of light as a tool to begin to define space. http://www.illumni.com.au/2012/06/lara-elbaz-interview-principal-lara-el-baz-lighting-design/Fig.10 Light is one of the elements that allow architects to achieve sense of meaning. http://valladolidriosdeluz.es/EN/site.swfFig. 11 The Broken Light of Rotterdam, Netherlands. http://www.mondoarc.com/projects/Architectural/828912/broken_light_rotterdam_netherlands.htmlFig. 12 London’s nocturnal landscape. Warren Scott Photography.Fig. 13 “Public staircases in the tradition of the Public Opera.” (Heathcote, 2004, p. 203) Michael O’DonnellFig. 14 Smallest aesthetic detailed is created in “immensely detailed language.” (Heathcote, 2004, p. 203) Michael O’DonnellFig. 15 Material used as found. Michael O’DonnellFig. 16 Artificial light creates an effect which alters the perception of the surfaces. Michael O’DonnellFig. 17 Distinct atmospheric ambience. Michael O’DonnellFig. 18 Consistent lighting approach throughout the Barbican. Michael O’DonnellFig. 19 Jane Jacob’s idea of safe use of walkways. Michael O’DonnellFig. 20-21 The “Piranesian drama” they evoke, may in fact contribute to a personal feeling of insecurity. Michael O’DonnellFig. 22 The introduction of a new low profile lighting scheme to an underpass in East London. Michael O’DonnellFig. 23 Underpass at Bow. Michael O’DonnellFig. 24 Underpass at Bow. Michael O’DonnellFig. 25 Underpass at Bow. Michael O’DonnellFig. 26 Underpass at Bow. Michael O’DonnellFig. 27 The Balfron Tower, East London was built with apparent new vision of future living. Warren Scott PhotographyFig. 28 Differing elements of city life that create interesting architectural composition and perspectives. Michael O’Donnell Fig. 29 The artificial illumination of the Barbican can be seen as a beautifully and carefully designed lighting installation. Michael O’Don-nellFig. 30 The correct lighting design is required for the appropriate ambience. Michael O’DonnellFig. 31 Turrell exploration highlights the importance of composition, perspective and the sensory experience. (Cantz, p. 56)Fig.32 Turrell Wolfsburg Project (Cantz, p. 64)Fig. 33 The streets of Rotterdam http://www.mondoarc.com/projects/Architectural/828912/broken_light_rotterdam_netherlands.htmlFig. 34 The Barbican poetic lighting scheme-Authors own imageFig.35 Light Show at the Hayward Gallery, http://www.theartsdesk.com/visual-arts/light-show-hayward-galleryFig.36 Light Show at the Hayward Gallery http://www.bbc.co.uk/news/entertainment-arts-21258247Fig. 37-39 Light Show at the Hayward Gallery Authors own images.


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Introduction


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The use of illumination of the urban environment bathes us in light ,“it puts you on the stage” (Bell, 2009, p. 26) as we perform Jane Jacob’s ballet.


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Introduction


The narrative of human evolution over thousands of years has meant that we are awake when the sun rises and we rest when the sun sets. The introduction of electric lighting in the “19th and 20th centuries must be seen to be hugely important” (Bell, 2009, p. 26). Without the development of artificial light we would not be able to survive successfully in an urban environ-ment. Human beings require a cycle of night and day to be active and then to recover. Florence Nightingale recognised in the 19th and early 20th century that ad-equate lighting was also “necessary for recovery” (Bo-stridge, 2011) from illness and injury in her patients. The urban environment does not allow true darkness; light pollution can compromise a human’s recuperation. The natural cycle of life is affected by a quest for a 24 hour city. Frank Lloyd Wright describes the planners of modern cities as aspiring to a “Sterile urban verticality, actually unnatural to man because he is upended, suspended, and traffic jammed...due to his own mad excess,” (Farrell, 1999, p. 28). Wright’s “unnatural” (Farrell, 1999, p. 28) illumination of the nocturnal city landscape, “extends the life of the city far beyond nightfall” (Bell, 2009, p. 28). It enables the city to be “a hub for leisure and entertainment” (Bell, 2009, p. 28) allowing city dwellers who “could afford to play for a while at night” (Bell, 2009, p. 26)

Light exerts considerable influence on spe-cific biochemical processes within our bodies. We are living in a man-made environment, which gives rise to the notion of a 24 hour city. This is in itself an artificial and, as Wright states, an “unnatural” con-struction. Therefore, the aesthetic design of public spaces needs to achieve a delicate balance that allows the city to perform its functions effectively but with due regard for the consideration of human needs. The city’s “performance” can be compared to Jane Jacobs’ analogy of a city as a dance, one that is an “intricate ballet” (Jacobs, 1993, p. 65) in which individual danc-ers have their own parts or routines which “miracu-lously reinforce each other and compose an orderly whole” (Jacobs, 1993, p. 65). The use of illumination of the urban environment bathes us in light “it puts you on the stage” (Bell, 2009, p. 26) as we perform Ja-cob’s ballet. This allows a sense of safety and a freedom of movement throughout the city and in particular, public spaces. (Barker, 1997) As Lloyd Wright states his vision of the city is one that “restores grace, beau-ty, function and a freedom to the city fabric and to the quality of life for citizens”. (Farrell, 1999, p. ix).


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In the chapters which follow the intention is to dis-cuss key attributes of what have come to be regarded as successful public lighting installations. In Chap-ter One it is proposed to review some of the work of the artist James Turrell and in particular the way in which he heightens sensory experiences through the use of light. Chapter Two will examine Wright’s vi-sion of ideal lighting in a city. Examples of lighting designs and cities that have won awards for the im-pact of artificial light will be examined. The River Of Lights installation in the city of Valladolid in Spain will be analysed, and criteria for effective artificial lighting will be established. Chapter Three deals with case studies of the Barbican complex and an underpass in Bow. These will be examined in terms of the research criteria emerging from this analysis.

Human behaviour and sensory experiences is at the heart of Turrell’s work. Turrell is not alone in his recognition of the importance of lighting. The work of others such as Olfaur Eliasson and Dan Fla-vin will be called upon in support of “civic illumi-nation of a kind that exceeds that of mere utility” John Culmer Bell. It should be “primarily under-stood in its use as an agency for civic pride” in the illumination of buildings and art. (Bell, 2009, p. 26)

The nocturnal nature of the urban environ-ment creates its own atmosphere. It requires our attention; it should not be ignored nor used simply for illumination. In Cityscapes Ben Highmore rec-ognises the nocturnal atmosphere by quoting Wol-fang Schivelbusch when he remarks on the effect of “light falling onto pavements and streets from shops, cafes and restaurants” (Highmore, 2005, p. 46).

It could be argued that a review of the work of Turrell and others leads naturally to an appreciation of the work of other bodies and institutions such as the Congress for New Urbanism and the Luci Char-ter on Urban Lighting in association with the Phillips Corporation. All of this reinforces the simple propo-sition that the aesthetic illumination of public spac-es is an essential component of urban development.

At the time of concluding this dissertation an exhibition at the Hayward Gallery has opened which both illustrates and exemplifies the points that the present research has established. An interview with Dr Cliff Lauson, the curator of the exhibition was arranged in order to add substance to the con-clusions reached by the writer of this dissertation.


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Fig. 1 Turrell undertook a well-publicised project on lighting effects, known as the Wolfsburg Project.

Anaylsis of Artifical Lighting in Art


“We are made for twilight” (James Turrell in Cantz, 2010 p.109)

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Anaylsis of Artifical Lighting in Art


In contrast to the fundamental views of nature out-lined by Cantz and others - “Light and dark, day and night are the elementary coordinates with-in which the rhythms of life unfold for all beings on our planet” (Cantz, 2010, p. 109) - the artist James Turrell controversially states that he believes “We are made for twilight” (Cantz, 2010, p.109)

Turrell has undertaken a well-publicised project on lighting effects in Germany, known as the Wolfsburg Project. Before watching the vid-eo of the Wolfsburg Project (Finger, 2011)I was intrigued to consider the effects light has on a giv-en space. As an artist Turrell pushes one’s percep-tion to the extreme throughout his projects. This introduces interesting parallels in the design of public spaces and the behaviour of its inhabitants.

The perception of light has inspired artists to come to terms with the true nature of light as an art form. As the film demonstrates, light has, from as early as the 19th century impressionists, tried to liberate light from the canvas into the third di-mension. In the 1960s artists focused on the effects coloured lights have on a given space. (Finger, 2011) James Turrell pushes the manifestations of light; his work opens up a more spiritual relationship with light. This spiritual relationship can be inter-preted in many ways. The different uses of colours have been associated with certain spiritual mean-ings that can represent different conventions to dif-ferent civilizations. Rasmussen states “correctly used colour may express the character of a building and the spirit it is meant to convey” (Rasmussen, 1964, p. 218). Also light is often perceived as a rep-resentation of life in the symbolic and religious sense.

As an artist Turrell immerses himself and his work in the study of light. It is interesting to note that his view of “man being made for twilight” is at odds with the views of others about the needs of human beings for adequate light. Turrell sees the manifestations of light as being defined by the use of the medium as his art form, as his material, a con-stant exploration of the medium. (Cantz, 2010) “The picture is the light whilst the frame is the room…my works are not looking at, but a looking into... not in a room but the room” (Cantz, 2010, p. 72)


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“Turrell’s whole artistic output and intention is concentrated with unparalled dedication on revealing the mechanisms of our sight and the power of light.”

(Cantz, 2010, p78)

Fig. 2 The perception of the flat image is the room bathed in artificial light but has no outlines.


When one compares the idea of the picture being the light and the frame being the room it creates an inter-esting juxtaposition with the lighting of public spaces and Leon Battista Alberti’s analogy. Alberti compared the city to a large house with the buildings and spaces being the rooms within the house. It allows us to bet-ter understand and appreciate the “illusive patterns of order and disorder within urbanity and architecture.” (Farrell, 1999, p. 29) It assists in creating the identity of the city. “The apparent chaos and multi-layered construction of the city” as outlined by Farrell are among the criteria for interpreting and understand-ing “the urban philosophy and that of public spac-es”(Farrell, 1999, p.29) . Therefore, understanding the makeup of the city through, Alberti’s concept can be likened to that of John Soane’s Lincoln Inn, where Soane’s personal experiences of life are replicated in a labyrinth of both house and museum. (Farrell, 1999).

Turrell pushes ones sense of orientation and heightens the sensory experience through col-our and light within his art work. People’s personal experiences differ as they travel through both Tur-rell’s artwork and the labyrinth of a city. Each indi-vidual is unique, therefore personal experiences and perception of the labyrinth are individually unique.

Kevin Lynch outlines the importance of the “value in mystification, labyrinth or surprise in the en-vironment” (Lynch, 1960, p. 5) within the city. Turrell uses the mystification in a similar manner pushing the personal sense of perception within a space. Howev-er, the “mystification” outlined by Lynch must occur in an overall framework that allows the confusion to be in “small regions in a visible whole” (Lynch, 1960, p. 6). When visiting the Light Show at the Hayward Gal-lery, the writer experienced this sense of mystery Tur-rell created. It was apparent however that the effect is pleasurable in the controlled environment of an exhi-bition installation, on a larger scale in city setting this

could be a disturbing experience leading to feelings of insecurity. Lynch identifies the requirement of move-ment to be measured and that “complete chaos, with-out hint of connection is never pleasurable.” (Lynch, 1960, p. 6). The illumination of different rooms in the house is done in a manner that is seen as appropriate for each of the functions or importance of the specif-ic purpose. This could also be the considered approach in the illumination of the “miniature buildings” (Far-rell, 1999, p. 29) Alberti was referring to in his analogy.

Turrell’s installation at the Kunstmuseum, Wolfsburg is a walk-in sculpture of light set within the 17 by 40 metre hall. The Wolfsburg project allows vis-itors to enter the light sculpture from an elevated po-sition with the “room completely bathed in coloured light” (Cantz, 2010, p. 75). Visitors descend on a ramp into the viewing space. From there the “sensing space” is viewed, but it is separated and not accessible and also not comprehensible in dimension. The limits of space are blurred and there is a sense of infinity where the “world is dimensionless and all architectural features - light, colour and space – blend into one, the eye is lost in the diffuse mist of light, which is evenly lit by the reflected light of the white walls.” (Cantz, 2010, p. 75) This may appear to contrast with Lynch’s idea of a con-trolled sense of chaos. However, Turrell highlights the importance of the sensory experience and how, with no imagery, lighting can affect one’s experience in either a positive or a negative manner.

From a different external viewing space, look-ing into the bright light, the project appears as a two dimensional picture on the wall. In reality, it is not a picture; the perception of the flat image is the room bathed in artificial light but has no outlines. The flat image turns into something one can walk out of; exiting what appears as a flat image from the three dimensional space, is seen as a “crucial moment in modern art” (Fin-ger, 2011).


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Turrell uses light as a medium that is always there. How-ever, observers are either unaware of its qualities or simply are unaware of its presence. Johannes Meinhardt believes that Turrell makes the reality of light itself visible - “to make light become as visible as a body,” (Cantz, 2010, p. 111). Light can alter behaviour and the experience of a space. The link between behaviour and the environment, with re-gards to the urban environment is something that is impor-tant. The role and the utilisation of light in this is some-thing that should be understood. Turrell makes the viewer aware of the light by using perception itself. (Farrell, 1999)

Turrell avoids the use of image as he states he wants to avoid any “associative thought” (Cantz, 2010, p. 71). By the avoidance of image he does not want to take away or distract the viewer. “He does not deal with a focal point or special purpose”. With no object, image or purpose he makes the viewer look at himself (Cantz, 2010). He demands the activ-ity of seeing from the spectator, as Rasmussen demands from The Experiencing of Architecture “The retina is like a movie screen on which a continuously changing stream of pictures appears...” (Rasmussen, 1964, p. 35). Turrell requires the view-er to look at the space within the room. The illumination of an object would fundamentally distract from Turrell’s point.


Fig. 3 Turrell’s earlier works of the Wedgework's installation.

Fig. 4 Wolfsburg Project set amongst Japanese garden courtyard

People’s perception and the sensory experience are the focal point of Turrell’s work. Orientation and the sense of self perception are heightened. Therefore, feel-ings and emotions are developed within the space that have either a negative or positive effect on the person-al experience of the space. Turrell explores this in an artistic manner by “giving viewers access to their own perception- not simply as an abstract, retina-controlled, consciousness-forming act, but as something connect-ed to the sensory impressions of the entire body. The emotion enables one to have a subjective visual expe-rience that links them in unique ways to the outside world of the inner world and to art.” (Cantz, 2010. p. 75)

At the time of writing Turrell’s earlier works in the Wedgework series is on display at the Hayward Gallery in London. The Wolfsburg project is the devel-opment of the Wedgework installation. As one moves amongst this earlier work ones perception of the di-mension and the characteristics of light change. Light acquires a materiality, and the dimensions of the room in terms of height, breadth and depth are blurred in a mist of colour. The room is divided by the way the light diagonally cuts through the room. As Faber Birren states in The Elements of Colour, “the spatial effect of col-our may be a result of several components manifested in many ways from light to dark, cold to warm, satura-tion or extension.” (Birren, 1961, p.77) The acquisition of materiality is an interesting proposition as the light itself creates a form that in itself has a texture. It could be argued as Rasmussen states that within architecture

the emphasis of colour enhances the character of the building. Turrell creates a materiality within light itself without a building thereby adding a texturized nature to the light. In an interview with this writer Dr Cliff Lauson reiterates this point when he explains that “art-ists employ artificial light as a material in and of itself ” (Lauson, 2013) and states that they are “compelled by its luminous and intangible qualities”(Lauson, 2013).

The normal identification of objects in space is perceived by ones eye. Turrell removes all points of orientation whilst trying to shift the attention of the viewer from ordinary perception of object “to the act of seeing and the nature of perception” (Cantz, 2010, p. 75) “There is no objectively correct idea of a thing’s appearance, only an infinite number of sub-jective impressions of it.” (Rasmussen, 1964, p. 36)

Turrell’s passion for perception corresponds with the oriental cultural attitude towards nature, contempla-tion and havens of peace. He sees the western attitude as a more “physical”(Cantz, 2010, p.77) way of thinking rath-er than having a harmonious soothing relationship with nature. It is interesting that the Wolfsburg Project is set amongst Japanese garden courtyards, based on the con-cept of the famous Zen Garden of the Ryoan-ji temple in Kyoto. This appreciation of nature and the natural form complements perception and the experience of a space and it could be considered an important facet in design.


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Fig. 5 Olfaur Eliasson’s The Weather Project, did not contain heat but it created a sense and experience of mind.

When investigating Turrell’s work other artists have to be considered and researched to gain a greater understand-ing of the importance of lighting. Other artists also want to understand the boundaries and totality of light, by in-vestigating relationships between inside and outside, the material and the immaterial, light as medium and light as an object. This understanding will create a greater experi-ence of the sensory and intellectual understanding of sight.

Olfaur Eliasson’s The Weather Project set within the Tur-bine Hall of the Tate Modern captured the warm atmos-pheric qualities of the sun. However the warm glow from the artificial sun was simply that, a glow. It did not con-tain heat but it created a sense and experience of the mind whereby the visitors felt comfortable to sit and take in the artificial rays of the huge light sculpture. Dr Lausson ex-plained to the writer his view that Olafur Eliasson “changed the social behaviour” at the Tate Modern, by altering what is simply a “concrete bunker” (Lauson, 2013) into a place where “families would visit with picnics” (Lauson, 2013).

Dan Flavin was concerned with the sensory expe-rience and occasionally with the spiritual perception. Fla-vin’s colourful fluorescent tubes served as the material and light as the media as Ulrike Gehring summarises. Turrell, on the other hand, uses light as his material and the view-er’s perception as his art’s media. (Cantz, 2010, p. 111) Fla-vin creates a more recognised relationship between the view-er and the work and Turrell shifts the viewer “and places him at the centre of his reception aesthetic” (Cantz, 2010, p. 113).

The article by Maev Kennedy in The Guardian raises an interesting point that questions whether Dan Flavin’s installations are actually art at all or simply a selection of light fittings. The Eu-ropean Commission ruled that the work of the American artist should be classified for tax purposes as a simple light fixture, his work has “the characteristics of lighting fitting” (Kennedy, 2010) and is therefore to be classified “as wall lighting fittings”(Kenne-dy, 2010). Fundamentally, the Commission believe his work is only an art installation when the lights are actually switched on.


Fig. 6 Flavin’s colourful florescent tubes served as the material and light.

“Colour is the place where our brain and the universe meet”. (Paul Cezanne in Cantz)

The artistic merits of Flavin, Turrell and Eliasson cannot be argued when the lights are off. However, when the lights are switched on, the sensory experience that then takes place is, admittedly dif-ferent for different people. At this point there are surely merits to be debated.

The Commission’s views on modern art can be argued ei-ther way, however in a sense they have a point. The artistic merits of Flavin, Turrell and Eliasson cannot be argued when the lights are off. However, when the lights are switched on, the sensory experience that then takes place is, admittedly different for different people. At this point there are surely merits to be debated. Flavin transforms the sensory feel of a space that once the lights are switched on changes people’s experience of a location. With the use of different coloured lighting he makes the viewer mentally stimulated in a trans-formative manner, as Paul Cezanne said “Colour is the place where our brain and the universe meet”. (Cantz, 2010) The importance of the artistic perception of light in Turrell’s work is clear, however, it could be argued that the connec-tion of the illumination of public spaces within architecture is not so obvious. However, the way a space, building or area is illuminated can create sensory experiences that will affect

behaviour within that place. This is an important consider-ation in the development of public spaces. The spiritual rela-tionship and the symbolism associated with colour can define a building’s purpose or importance. Flavin’s use of coloured light can completely change the experience of the space and the behaviour of the people within. Turrell’s artistic explora-tions into the light as a medium of art, makes the viewer aware of not simply a space but the perception of the space mean-ing that the viewer’s orientation, self-perception and sensory experience is heightened or blurred. Turrell understands the qualities of light - he wants the viewer to see the light as we see other objects such as the body. Exploration of the mate-rial nature of light and the qualities that it possesses enhance the architectural environment. These criteria and attributes have to be considered in the development of public spaces as discussed in further detail in the chapters which follow.


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The exhibition at the Hayward gallery pre-viously alluded to illustrates many of the points made in this chapter. The exhibition contains lighting installations by many artists, all having different approaches to the ar-tistic use of light. Different areas of the exhibition show the use of strobe lighting combined with water, static lighting, reflected lighting, coloured lighting and technological ad-vanced lighting. However, all the different approaches il-lustrate a common theme. This allows lighting to transform from the immaterial into the material. Light as we experi-ence every day is immaterial part of the environment we live in. However, these artists show that by creating dy-namic structures upon which the eye can focus, lighting can become a material object with an artistic merit of its own. Turrell and other artists create differing environments which push the boundaries of perception. Dr Cliff Lauson makes the point that the work of artists and architects is fundamentally different. An architect’s work is constrained by commercial and financial imperatives, whereas the art-ist is free to push the boundaries of creativity and imagi-nation. However, he recognises the innovative work of the artist allows architects to explore new ideas.(Lauson,2013)

Fig.36-37 Light Show at the Hayward Gallery


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Successfully RegardedArtificial Lighting Designs


Essentially lighting is a visual medium - mathematics and sciences assist, but cannot solely de-termine a successful outcome without an understanding of design and composition. The choices that are made when illuminating spaces, determine simple or complex aesthetic decisions that are translated into technical terms.

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Successfully RegardedArtificial Lighting Designs


Light has always been an integral design element in architec-ture. It can influence the overall form as well as the behaviour of the inhabitants within a given space. When an architectur-al space is described emotional terminology is often used to explain the sense or feel of space. The emotional response is influenced by the role of both natural and artificial lighting. As Rasmussen (1964) states in Experiencing of Architecture a natural light has remained a constant element through-out architecture from the earliest recorded structures. Ex-amples of these are Stonehenge and the Pyramids of Giza.

However, natural lighting, as Rasmussen states, by its very nature changes constantly depending on the time of day, the time of year and weather conditions. The progression of technology has allowed designers to introduce artificial light as a tool in an attempt to enhance spaces Although ar-tificial light cannot match the true qualities of natural light, advances in technology have allowed artificial light to cre-ate emotional responses in either a positive or a negative manner. This chapter will focus on the role urban lighting has on public spaces and the significance of the attributes and qualities which affect those spaces. (Schaffner, 2010)

As the Congress for the New Urbanism (CNU) outlines, suc-cessful cities and towns are shaped by “physically defined and universally accessible public spaces,” (Urbanism, 2010, p. 65). These frame the architecture, and highlight and enhance the “local history, climate, ecology, and building practice.” (Ur-banism, 2010, p. 65). By illuminating the buildings, or in Al-berti’s analogy of the rooms in a domestic dwelling, the per-ception of the attributes and qualities are more identifiable.

To understand this success an analysis of recognised artificial light locations is required. When investigating the qualities of a public space, with regard to lighting, criteria established as a basis for a comparison will be used. Following on from the areas developed previously the aim is to compare and un-derstand the impact of light within the architectural design methodology, therefore, an analysis of that space is required.

The Luci Charter on Urban Lighting is one of the bases for comparison. The Luci Association, in conjunction with Phillips, run an international City-People-Light Award.

The award represents “a significant step towards promoting the use of light as an essential component in urban devel-opment” (Assocation, 2012). The Luci Charter outlines the commitment to “high quality and carefully designed urban lighting” (Assocation, 2012) that will influence successful urban development and social integration. The many facets of design issues are important in relation to urban light-ing, issues such as mobility, movement, crime reduction, cultural structure, environmental psychology and safety.

The chaotic movement inherent in city life give it a connectedness and a flow of movement. Although the flow is not a disciplined act, each “trajectory is strictly unique” (Koolhaas, 2010, p. 142). This uncontrolled movement is fundamentally a measurement notion of our “freedom” (Koolhaas, 2010, p. 142). Cities, as Terry Farrell explains, are made up of a possible infinite combination of different “cultural districts” (Farrell, 1999, p. 32). These are made up of “patterns formed by the square and public spaces, streets and public routes” (Farrell, 1999, p. 32). Lighting is often approached in a fragmented manner that mainly concentrates on resolving technical problems rather than the overall arrangement and management of public space. The relationship and hierarchy between public and private buildings and Rem Koolhaas’ notion of freedom define the city and its makeup. The poetic use of lighting assists the circulation and connection between people and differ-ent aspects of the urban environment, rather than simply fulfilling a functional requirement of over illumination.

Essentially lighting is a visual medium - mathemat-ics and sciences assist, but cannot solely determine a suc-cessful outcome without an understanding of design and composition. The choices that are made when illuminating spaces, determine simple or complex aesthetic decisions that are translated into technical terms. The aesthetic choices that are made in the illumination of space and volume delin-eate, and perhaps enhance those spaces and the overall light-ing provides another version of the image which presents in natural daylight. The extent to which these aesthetic choic-es enhance the spaces is debatable and often controversial.


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The City-People-Light Awards 2011 winner, the River of Lights walk in Valladolid, in Spain (Fig. 7), can be an-alysed using the four major techniques offering trans-formative powers that are outlined in the book “Trans-formation-LIGHT / Re-interpreting Architecture” in Schaffner. These techniques concern Direction, Brightness/Intensity, Colour/Colour Rendering and Movement. I plan to investigate further each of these criteria and the method of lighting in relation to the River Of Light in Valladolid.

Direction

Direction is concerned with the position from which we a lo-cation or an object are illuminated. Artificial light can offer the possibility of illuminating buildings or spaces from dif-ferent points that offer a different illumination from natural light. Well-appointed artificial lighting enables highlight fea-tures that are either not visible or simply not prominent dur-ing the day in natural light. In Valladolid the creation of a new night vision resulted in “important historic monuments and squares” that appeared along with other areas having “sud-denly emerged from the darkness.” In this respect lighting is similar to art, in revealing and hiding aspects that are either apparent or not noticeable during the day. Or, that of a theatre that create dramatic effect by revealing certain aspects whilst concealing others. Creating interesting architectural compo-sition that “enhances the different in tones caused by the at-mosphere,” (Rasmussen, 1964, p. 39) highlights the texturized nature of the materials. The creation of a new illusion of space that is more vivid “than the constant repetition of dimensions familiar to the eye and seen in different depths of the archi-tectural perspective,” (Rasmussen, 1964, p. 39) is perceived

Brightness/Intensity

Artificial lighting has the capacity to alter the texture or the natural brightness of different surfaces and materials. As has been observed, Turrell takes this concept further by using light alone to create the appearance of texture. Artificial light can-not render original colours the same as they appear in natural light, as artificial light has its own colour. The light path of the River of Light acquires its own unique personality and adds to a certain distinct nocturnal quality in the city of Valladolid. This dramatic transformation is allowed to take place due to the distinct colour transformation of artificial light on the city.

Fig. 7 The River of Lights walk in Valladolid, in Spain.

The light path of the River of Light acquires its own unique personality and adds to a cer-tain distinct nocturnal quality in the city of Valladolid. This dramatic transformation is allowed to take place due to the distinct col-our transformation of artificial light on the city.


Colour/ Colour Rendering

The River of Light uses a design philosophy based on the his-torical and philosophical meaning of rivers, water, light and colour. This visual hierarchy modifies the environment of Valladolid in a positive manner, giving the citizens of Vallad-olid both symbolism and a visual comfort within the local en-vironment. (Assocation, 2012) This symbolism enhances and highlights the spiritual relationship with the local environ-ment in Valladolid and frames the architectural composition.

Movement

The technique of moving light and shining colours creates a dynamic lighting affect. The utilisation of light flowing through the walking areas of the centre of the city creates a connection between different buildings and monuments, as well as streets and squares. As was noted earlier Koolhaas refers to this notion as freedom defining the city and its makeup. There are parallels with Turrell’s focus on height-ening the orientation through perception. The movement of light highlights the paths and direction required to trav-el through the city. The combination of the movement of light and the illumination of landmarks allow a point of reference that assist the cohesion and flow of movement outlined by Kevin Lynch in “The Image of the City”(1960).


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Fig. 8 “Spirit of a Place”- provides citizen’s with a visual comfort.

Fig. 9 The use of light as a tool to begin to define space.

Fig.10 Light is one of the elements that allow architects to achieve

sense of meaning.


Experience

The city centre is the focus of the active urban life of Val-ladolid. (Fig.8) However, the nocturnal city scene is now more connected which adds and enhances the heritage of the city. The resulting experience has been referred to as the “Spirit of a Place” - the combination of physical and emotional conditions that create a sense of feeling.

The objective of the lighting design was to pro-vide citizens with a visual comfort that was created with a “highly aesthetic component” (Association, 2011) thus adding a quality to the evening city. The Luci Association rewards projects that demonstrate an improvement in the general well-being of those who live in, work in or visit the city.

Visual comfort is a term that probably defies defi-nition - it requires an understanding and an appreciation o when understanding artificial lighting designs. Howev-er, a precise definition of visual comfort is not possible as it is subjective and based on individual tastes. In much the same way as people’s aesthetic choices will be different so also will people’s visual comfort be different. However, the outcome created from the sensory experience from in-dividual’s interruption of visual comfort or aesthetic wills more or less the same

Form and Space

Form and space are influenced by the element of light; utiliz-ing light as a tool to begin to define space. The River of Light emphasises the heritage of the city highlighting the past, present and future. The lighting reveals hidden elements and emphasises the rich culture of historic monuments and squares “dressed in a more comfortable and elegant light” (Association, 2011) in a manner similar to the beliefs of the CNU. Turrell requires the viewer to look at the space within the room whilst here the space is defined by the light. Turrell is breaking down light to its basic form which then allows space then to be defined.(Fig. 9)

Meaning

Meaning is usually generated in architectural form. Light is one of the elements that allow architects to achieve a sense of meaning within the project whether it is festive, theatrical or mystical. The basis of the design of Valladolid was on the his-torical and philosophical meaning of rivers, water, light and colour along with the development of the city of Valladolid.(Fig. 10) This reflects on the meaning of the past, and captur-ing the flow of knowledge of new ideas, thought, and culture involving growth, energy life and movement. This relation-ship corresponds with the CNU ideology of framing the ar-chitecture and enhancing the history as mentioned earlier in the chapter. (Assocation, 2012)

In the thesis “Luminous Concepts through Design Itera-tions”(2010) by Kevin Schaffner, the author evaluates ex-amples of widely regarded lighting installations under the criteria established in Marietta Millet’s book “Light Re-vealing Architecture”. Millet is seen as an influential writer in the field of luminous space and the impact on the built environment. The four categories in her book come under the following sections titled Light Revealing: Experience, Form, Space and Meaning. These categories require exami-nation. Within them Millet outlines her opinions on which environmental and design qualities influence the impact that the luminous environment has on architectural form.


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Fig. 11 The Broken Light of Rotterdam, Netherlands.

Fig. 12 London’s nocturnal landscape.


In some cultures light is deified and worshipped as an expression of life and is highly regarded within re-ligious beliefs. As a symbol of life it is associated within the concepts of “revealed” truth and “illumination” (Ra-zis, 2002, p. 18). When analysing The Broken Light of Rotterdam, Netherlands, the project that came second in City-People-Light Award, it is interesting that the res-idents of the street welcomed light into their neighbour-hood, in both a literal and figurative manner. The streets had previously been rife with crime and the district was characterized by old warehouses, quays and dense living areas. The streets had a “non-diverse population and the district had a bad reputation”. It was very much a forgot-ten and deprived area. Introducing light into the neigh-bourhood in both literal and figurative manner was to bring life back in this “forgotten area”. (Association, 2011) The design of social lighting sculpture was sub-ject to several meetings with the local residents, which created a social cohesion and strength. The improvement of the attractiveness of the area en-couraged both social and cultural development.

It could be argued that designers and archi-tects are responsible not simply for buildings, but have a moral obligation to other issues such as education, recreation, and the environment with specific atten-tion to the “collective community, that impacts on the lives of both the rich and the poor” (Mockbee, 2010, p. 109). The very nature of public spaces requires that they are open to all, so we must be aware of the so-cial responsibility of the design of architecture. Es-sentially “people and place matter” (Mockbee, 2010, p. 110) , therefore the nocturnal landscape of the ur-ban environment requires an approach that assists the collective community outlined by Jackie Mockbee.

Essentially lighting is a visual medium - mathematics and sciences assist, but cannot solely determine a successful outcome without an understanding of design and composition. The choices that are made when illuminating spaces, determine simple or complex aesthet-ic decisions that are translated into technical terms.


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Case Studies


The actual experience of a place is different. Personal experience gives rise to imagery and a real sense of the place which is different for everyone for a range of reasons.

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Case Studies


The research in the previous chapters was based on books, films and images. Unless one has had the oppor-tunity to experience these locations on a personal level, one could not completely relate to what the artists, judg-ing panels and writers are describing. The actual experi-ence of a place is different. Personal experience gives rise to imagery and a real sense of the place which is different for everyone for a range of reasons. Our perception and understanding of a place is enhanced through our per-sonal experience of that place. With that in mind the remainder of this work is driven by the lessons drawn from the previous research as applied to a personal study of a number of London locations, namely, the Barbican and the Bow Underpass as well as the streets of Rotter-dam.

The Barbican can be interpreted as a successful public place where thoughtful design has been comple-mented by carefully chosen lighting installations. The underpass in Bow has been delicately transformed to al-ter the perception of the forgotten space. An underpass or junction has a compelling importance for the city observer, as Kevin Lynch outlines in the “Image of the City” (Lynch, 1960,). He says “Because decisions must be made at junctions, people heighten their attention at such places and perceive nearby elements with more than normal clarity.” (Lynch, 1960, p. 72). Such junc-tions or “nodal points” (Lynch, 1960, p. 48) can be found in almost every image and “sometimes be the dominant feature” (Lynch, 1960, p. 48) within the city.

The Barbican complex in London contains a school, theatres, restaurant, exhibition space, and a mu-seum as well as domestic dwellings. The Barbican can be

seen as having aspects that are required for a successful microcosm of a city. It has a diverse mix of primary use as mentioned by Jane Jacobs (1993). Its use is mixed throughout the day and the domestic elements all come together to create a compact whole, or as the Archi-tects Review referred to it in 1973, as an “instant-city” (Heathcote, 2004, p. 223). The fusion of function and uses means there is no “isolation in remote, single use complexes,” (Urbanism, 2010, p. 67). It is interesting to contrast this with the many utilitarian public plac-es, such as underpasses or high rise estates, where the lighting is often seen as a necessity rather than a design feature.

The Barbican has had a mixed press over the years with the London Evening Standard stating “it’s awful but I like it”. Furthermore, it describes the Bar-bican as “Mr Potato Head in Toy Story, its ear is where its mouth should be, its arm is in its eye socket - it’s a garbled sentence. “ (Heathcote, 2004, p. 25). The design approach taken in the Barbican is sometimes known as Brutalist. This approach may not be to everyone’s taste but it is a good example of successful social engineer-ing and reflects many differing aspects of a city in a sin-gular location. Notwithstanding this, the Brutalist style gives an attractive nocturnal nature to the space. It has been described as having a “dramatic and non-uniform sense by contrasting senses of scale and form” (Heath-cote, 2004, p. 11). This creates differing “vivid illusion of spaces” (Rasmussen, 1964, p. 39) seen in alternative depths of the “architectural perspectives” (Rasmussen, 1964, p. 39) as mentioned earlier.


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As one moves through the labyrinth of the different ar-eas, or as in Alberti’s analogy the different miniature buildings or rooms, of the Barbican one is aware of the drama involved in the circulation areas. An effort has been placed on transforming the non-places, such as cor-ridors and stairways, into a “coherent architectural nar-rative of texture, light and shadow,” (Heathcote, 2004, p. 20). Seating is incorporated into the walkways where one observes people socialising and working. The sweeping stairways create a drama that allows the public to be the centre stage as is appropriate for “public staircases in the tradition of the Paris Opera.” (Heathcote, 2004, p. 203).

The architecture is composed in a manner that enables the flow of movement amongst different aspects of the “garbled sentence” referred to above. It is similar to the chaotic movement inherent in city life. This gives a connectedness and a flow of movement that enhances the dramatic experience of the Barbican complex. The lighting on the stairwells creates a contrast between light and shadow and assists in bringing a sense of drama to a space. The artificial illumination of the walls from a dif-ferent direction to that of natural light highlights an al-ternative vision of the colour and robust texture. It shares the same nocturnal quality which was observed in con-nection of the city of Valladolid. Artificial light is used to alter the texture or the natural brightness of different surfaces similar to that of Valladolid where some areas are revealed and other areas are concealed. Attention to the smallest aesthetic detail means that essential requirements such as health and safety are created in an “immensely detailed language” (Heathcote, 2004, p. 19) and in themselves create interesting deco-rative detail. The architects of the Barbican used the en-gineers’ recommended solution for a problem of deco-ration. It could be argued that Brutalist terminology is often misunderstood and often lends itself to the “simple identification of modern structures that are crude, mas-sive and made of concrete.” (Heathcote, 2004, p. 203) However, a more complimentary definition, from the architect’s point of view is that “architects job is not to express him in the building, but what to express what the building is for. Material should be used as found. Struc-tural honesty meant making structural functions aesthet-ically clear.”(J. Joedickie in (Heathcote, 2004, p. 203))

In the case of the Barbican the structural honesty is ap-parent in the striking textural materiality of the concrete walls. The emphasis on the use of the technical and con-structional elements as “chief aesthetic vehicles in a de-sign” (Heathcote, 2004, p. 203) are evident throughout the Barbican. This is enhanced and highlighted by the way the artificial light creates an effect which alters the perception of the surfaces similar to that of the trans-formative effects of Turrells work outlined earlier.

Fig. 13 “Public staircases in the tradition of the Public Opera.” (Heathcote, 2004, p. 203)

Fig. 14 Smallest aesthetic detailed is created in “immensely de-tailed language.” (Heathcote, 2004, p. 203)


Fig. 15 Material used as found.

Fig. 16 Artificial light creates an effect which alters the perception of the surfaces.


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Fig. 17 Distinct atmospheric ambience.

Fig. 18 Consistent lighting approach throughout the Barbican.

Fig. 19 Jane Jacob’s idea of safe use of walkways.

The underlying principles that founded the Barbican were established in 1956, at the time when there were few corresponding designs elsewhere. “The plans repre-sent an idealistic history of the potential of planning and new technology.” (Heathcote, 2004, p. 30) The traditional public square and formal gardens are not present in the Barbican but in their place are public walkways, terraces, greenery and water in the form of a lake. “The Barbican combines elements of Baroque formality, modern sim-plicity, penthouse Americanism and Corbusian neo-clas-sicism.” (Heathcote, 2004, p. 37) The framed views from the walkways overlooking the lake and the sound of the flowing water create a unique atmosphere “that create vivid illusion of space” (Rasmussen, 1964, p. 39) seen in “different depths of the architectural perspectives” out-lined by Rasmussen (Rasmussen, 1964, p. 39). As evening falls the reflection of the lit spaces from the levels above create a distinct atmospheric ambience that can be com-pared to the city centre of Valladolid.

A fragmented approach to the lighting is not so apparent at the Barbican, as the different areas of use were constructed at the same time. Needless to say, there are areas that, although satisfying certain elements of Jane Jacobs’ idea of the safe use of walkways, have inher-ited the “negative connotations of a dimly lit underpass” (Heathcote, 2004, p. 196). It could be argued that the low ceilings and the concealed lighting on the walkways all add to the dramatic effect. The “Piranesian drama” (Heathcote, 2004, p. 196) they evoke, may in fact contrib-ute to a personal feeling of insecurity. This therefore does not complement Jacob’s view that safety is the fundamen-tal task of a city’s street and sidewalk (Jacobs, 1993, p. 38). However, as Lynch outlines “the image of a given reality may vary significantly between observers” (Lynch, 1960, p. 6) thus one can only take a considered approach that cannot satisfy every differing opinions but is thoughtful and researched.

The framed views from the walkways overlooking the lake and the sound of the flowing water create a unique atmosphere “that create vivid illusion of space” (Rasmussen, 1964, p. 39) seen in “different depths of the architectural perspectives” outlined by Rasmussen (Rasmussen, 1964, p. 39).


Fig. 20-21 The “Piranesian drama” they evoke, may in fact contribute to a personal feeling of insecurity.


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Elsewhere in London new lighting design strategies have had a transformative effect as with the introduction of low profile arti-ficial light to an underpass in east London. The roundabout and underpass complex at Bow, linking the A12 and the A13, has undergone a subtle change that has transformed an unattrac-tive, forgotten place into a significant space. The introduction of the illumination of both a new sculpture and the concrete col-umns that support the overpass, has transformed the space. The slow-changing illumination has created an illusion of a safer, more attractive location in a “non-place” that was not so much designed but happened as a by-product of necessary elements. However, as Lynch comments, the underpass or junction can be interpreted as “small points in the city image” (Lynch, 1960, p. 72) in a similar fashion to that of large squares. They can be the “focus and epitome of a district, over which their influence radi-ates and of which they stand as a symbol” (Lynch, 1960, p. 48).

This has clear similarities to the transformation of the forgotten streets of Rotterdam. Both locations exploit the par-ticular nature of lighting in an appropriate and sophisticated way. The transformation of the forgotten streets and spaces can be contrasted to other underpasses in London which are dark, seedy, uninviting and potentially threatening. The investment in the underpass at Stratford is due to the participation of London as the host for the 2012 Olympic Games. The location is one that was passed by thousands of visitors, participants and workers during the Olympic Games. The perceptual importance of such places can define a personal sense of arrival at significant points in a city or place. Lynch explains this as “break points in transition as key places” (Lynch, 1960, p. 73) that create a sense of “arrival” (Lynch, 1960, p. 73). The installation was seen as a necessary requirement for aiding the perception of London as an attrac-tive place. A simple and relatively cheap measure was employed that has transformed a negative place. This is a subtle approach that could contribute to the so-called legacy of the 2012 Games, if every inhospitable underpass junction and oblique housing development in London was illuminated in such a manner.

In addition one must remember that every person has a dif-ferent experience or perception. “Each individual picture is unique, with some content that is rarely or never communicated, yet it ap-proximates the public image, which, in different environments, is more or less compelling, more or less embracing.” (Lynch, 1960, p. 46)


Fig. 22 The introduction of a new low profile lighting scheme to an underpass in East London.


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“The junction. or place of a break in transportation, has compelling importance for the city observer. Beacuse decisions must be made at junctions, people heighten their attention at such places and perceive nearby elements with more than normal clarity. This tendency was confirmed so repeatedly that elements located at junctions may automatically be assumed to derive speical prominence from their location. The perceptual importance of such loactions shows in another way as well. When sub-jects were asked where on a habitual trip they first felt a sense of arrival....a large number of people singled out break-points of transportation as the key places.”

(Lynch, 1960, pg. 72)


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Conclusion


Illumination is of “critical importance” and one should see “light as a monumental force in the city”

(Bell, 2009, p. 26)


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Fig. 27 The Balfron Tower, East London was built with apparent new vision of future living.

Fig. 28 Differing elements of city life that create interesting architectural composition and perspectives.

“The potential for light as monument, for civic illumination of a kind that exceeds that of mere utility, is an-nially rehearsed at festivals and celebrations, but its quotidian place is primarily understood in its use as an agency for civic pride: the floodlit facade or public artwork.”

(Bell, 2009, p.26)


What has been established, through the ex-ploration of the nocturnal city, that the “three dimensional complexity of sunken gardens, residential towers, public walkways and mega structures” (Harwood, 2011, p. vii) come to-gether to represent differing elements of city life that create interesting architectural com-position and perspectives

The architects Chamberlin, Powell and Bon (CPB) con-stantly revived their vision of the Barbican. Over the long period that planning approval consent was necessary the new architectural aesthetic rendered their existing plans out of date. At the time of design a new vision of ideas about “how London should be lived in the future” (Heathcote, 2004, p. 29) was being established. Views that aimed in a sense to “solve the world’s problems through fresh ideas and social engineering” (Sergei Kadleigh, 1954) Many other designs that apparently shared the new vision of future living are still present in London lying isolated, unsafe and undesirable.

It could be argued that the Barbican is “the greatest piece of combined urban planning and architecture in Britain in the 20th century” (Harwood, 2011, p. vii). However, it has had its share of detractors who considered that the identification of a modern structure as Brualist is some way “crude, massive and made of concrete” (Heathcote, 2004, p. 203) as has been outlined previously; personal aesthetic taste and people’s visual comfort is a subjective concept, which cannot satisfy everyone’s taste. What has been established, through the exploration of the noctur-nal city, that the “three dimensional complexity of sunk-en gardens, residential towers, public walkways and mega structures” (Harwood, 2011, p. vii) come together to rep-resent differing elements of city life that create interest-ing architectural composition and perspectives. Through careful and considered lighting schemes, architectural elements are combined to enhance and compose an aes-thetically pleasing whole. These should be considered as part of the total building fabric. However, lighting has the advantage of being a separate element which can be applied as an asset. In this sense it is of “critical impor-tance” and one should see “light as a monumental force in the city” (Bell, 2009, p. 26)


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Fig. 29 The artificial illumination of the Barbican can be seen as a beautifully and carefully designed lighting installation.

Fig. 30 The correct lighting design is required for the appropriate ambience.

The rise of fast-track construction....heralded a major change in the motivations for building output largely predicated on maximising the economic value of the project, often with little regard for its social value.

(Clear, 2009, p.9)


The artificial illumination of the Barbican can be seen as a beautifully and carefully designed lighting installation. That allows the differing “ballets”, of Jacob’s analogy of prima-ry uses, to interlock amongst the landscapes that complement successful “chaotic” whole. The stage set upon which the bal-let is performed is well designed, but it may have elements that are considered unsafe by some. This view may be biased by the romance and sense of creative environment which is felt as one walks into the dramatic three dimensional jigsaw of the Barbican. However, every city has elements that offer differing opinions on safety and security. A well illuminated area may not be any safer than a dimly lit one and over-illu-mination acts as a “short sighted view of the development in the West” (Razis, 2002, p. 76). Care and consideration should be given to an aesthetic quality in the illumination of space that is fundamentally a reflection of the city at large and its nocturnal landscape.

In a similar fashion that the Barbican may not be to everyone’s aesthetic taste the Hayward Gallery has the similar Brutalist envelope. The Light Show exhibition was the brain-child of Dr Cliff Lauson, and he spoke of his desire for an ex-ternal light installation. However, for a variety of reasons that was not possible. When one walks amongst the exhibits, the sense of adventure and mystery is allowed to take place due to both the curator’s layout and the design of the building. In a smaller scale the show reflects the labyrinth outlined earlier in the research. The external transformation of the nocturnal nature of the Hayward Gallery epitomises the point that Dr Lauson is making in his aims for the Light Show. Such trans-formation paints the perfect picture that highlights the pos-sibilities of artificial lighting on the urban landscape. This, it could be argued, is the perfect external light installation.

The motivation for construction in recent years has meant that the building outputs were “predicated on maxim-ising the economic value of the project” (Clear, 2009, p. 6). Improving the inhabitants’ and visitors’ quality of life is ul-timately the moral responsibility of design and architecture. As Nic Clear argues, there is currently often “little regard for social value” (Clear, 2009, p. 6). The role of urban lighting is often overlooked but it is essential. The psychological aspects of lighting and colour have been extensively studied for many years and the influence on human behaviour is widely accept-ed. A room is often a good reflection on the emotional and mental state of a person. Therefore, as in Alberti’s analogy, the correct lighting design is required for the correct ambience for each environment, room or public space. In a domestic environment we adjust the light so that a particular activity or ambience is created or can take place. Therefore, the same approach should be taken on the design of the illumination of public spaces.

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Every city has elements that offer differing opinions on safety and security. A well illu-minated area may not be any safer than a dimly lit one and over-illumination acts as a “short sighted view of the development in the West” (Razis, 2002, p. 76)


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Turrell’s artistic exploration highlights the importance of composition, perspective and the sensory experi-ence, aspects whose fundamental qualities affect the perception of space within architecture. Urban light-ing is an “under-explored and under-theorised field” (Razis, 2002, p. 78) often considered as an afterthought merely to serve a purpose rather than to satisfy a visual comfort or to improve aesthetic qualities. The progression of technology is allowing sophisticated lighting schemes to enhance spaces. Techniques such as Direction, Brightness/Intensity, Colour/Colour Ren-dering and Movement are required to create visually pleasing and transformative qualities. Technology and light levels cannot in themselves deliver a successful outcome. It is the creative and artistic qualities of com-position that makes lighting projects exceptional-“the dexterity of human imagination that confines all forms of calculation” (Barker, 1997, p. 17) rather than the rig-id application of hard and fast rules. “The balance be-tween aesthetic and mathematic logic absorb creative diversity inherent within the discipline.” (Barker, 1997, p. 17)

The experience of a space is enhanced through vision and perception, “which depends on the way light re-veals form and void”. Turrell highlights the importance of perception and the sensory experience that can be created with the use of light and artificial light. Percep-tion and the sensory experience is the basis of people’s feelings about a space. Therefore, it seems important to create an environment that restores a grace, beauty and a freedom outlined earlier by Farrell to improve “the city fabric and the quality for citizens” (Farrell, 1999, p. ix). This will only happen if the art of lighting is taken as a fundamental tool in the design of architecture and public spaces rather than as satisfying “mere utility” (Bell, 2009, p. 26). Fig. 32 Turrell exploration highlights the importance of composition, per-

spective and the sensory experience.

Fig.31 Turrell Wolfsburg Project


Furthermore, The Barbican as such is not actu-ally a public space. However, it is one of the few mul-tipurpose complexes that allow visitors to experience the true chaotic movement inherent in city life. It rep-licates the urban landscape with a connectedness and a flow of movement. It could be argued The Shard, in London, has incorporated many uses that aspire to rep-licate a public space. However, it is a vertical structure that does not sit amongst a labyrinth that encourages the atmospheric and dramatic effect seen in the Bar-bican. It is doubtful whether connectedness achieved through an elevator system can create those same effects.

Chamberlin, Powell and Bon were privately wealthy architects. This seems to allow them to take a more uncompromising considered approach. They established an understanding of the requirements of the client rath-er than a concern with timescales and economy. There-fore, an established understanding of the client’s needs and aspirations prepared the foundation for the aesthetic design rather than creating a “cloak of fitting the accom-modation into a recognised style of building” (Harwood, 2011, p. viii). Ultimately an understanding of “who and what architecture is actually for” (Clear, 2009, p. 9) is the most important element in design. In the Barbican this approach laid the foundations for the poetic lighting scheme that can be argued to have a “grace” and “beauty” that adds to the “quality for the citizens”. However, as discussion of the underpass at Bow has highlighted, even spaces or “stage sets” that were not carefully designed can be transformed to create a new perception. Similarly, areas such as the streets of Rotterdam that were rife with crime can be transformed to create a new perception of a space.

Fig. 33 The streets of Rotterdam

Fig. 34 The Barbican poetic lighting scheme


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From: Michael O'Donnell [mailto:[email protected]]

Sent: 01 February 2013 10:11To: Lauson, Cliff

Subject: Disseratation on Artifical Lighting in Public Spaces.

Dr Cliff Lauson

I would like to send a quick message to say thank you.

I am currently studying a degree in Architecture at Greenwich University. On the 11th of February I am handing in my dissertation on the effects artificial lighting has on public spaces. My background as qualified electrician has laid the foundations for my interest in lighting.

The dissertation is made up of three chapters and the first one is researching the effects of lighting within art, specifically the work of James Turrell, Olafur Eliasson and Dan Flavin.The hand in date is coming around thick and fast, however, I cannot miss the opportunity to visit the Hayward Gallery. I almost fell of my chair when I was sent the link my every member of my unit group. On a recent architecture trip to Berlin, I have happily entertained, or maybe bored, every member of the unit on my love of lighting. The advert for the Light Show is pretty much my dissertation abstract.I have almost finished the dissertation and I am simply tweaking a few areas, such as the layout and the introduction. However, my intention is to now add some more pictures from the show.

It is at this point I shall ask if I could have the pleasure of meeting you, I would love to ask you some questions and even be so rude and ask you to look at my dissertation for your views. I am aware you will be extremely busy and if that is not possible before my hand in date, anytime after wards would be amazing.

My intention throughout my academic years is to research lighting and maybe one day I will be part of one your shows.

Yours Sincerely

Michael O’Donnell

From: "Lauson, Cliff" <[email protected]>To: Michael O'Donnell <[email protected]>

Sent: Friday, 1 February 2013, 15:14

Hi Michael, Thanks for your email. Much as I would love to, I honestly don’t have time to read your dissertation with that kind of pressing deadline.

I am however happy to meet you for a quick coffee next week if that helps. I’m glad to hear you have a very personal and intellectual connection with the show. Look forward to hearing. All best,

Cliff

Appendices

Email correspondence between author and Dr Cliff Lauson curator of the Light Show at the Hayward Gallery.


From: Michael O'Donnell <[email protected]>To: "Lauson, Cliff" <[email protected]>

Sent: Saturday, 2 February 2013, 15:32Subject: Re: Disseratation on Artifical Lighting in Public Spaces.

Cliff On reflection, I think I was pushing it asking you to look at my dissertation. However, in my eyes it is definitely worth a read, I'm only joking. It would be great to meet up. I've just booked tickets for Sunday at 3, will you be around? If not I'll try popping up next week, it just depends on my work schedule. Could I ask you a few questions over e-mail? I still can't believe that the Light Show has started this week. If it was a few weeks earlier your show would have taken centre spread. It looks like your getting very positive feedback, you must be extremely happy with such good press. I'm extermly looking forward to seeing the show. Thanks again for taking the time in responding to my message. Michael

From: Michael O'Donnell [mailto:[email protected]] Sent: 03 February 2013 21:39

To: Lauson, CliffSubject: Complements to the curator

Dear Dr Lauson

Just returned home form your show-it was magical.

I have purchased the exhibition book "Light Show" and currently reading as much as I can before the final deadline for my hand in. I enjoyed the exhibition immensely and as Ralf Rugoff states, you "deserve to be saluted". Again, I apologise for asking you to read my dissertation and it looks like I will be a long way off having my work on display in one of your shows, however, one can dream.

My dissertation examines the work of James Turrell in particular the Wolfsburg Project which was inspired by the work from the Wedge-work installation. So I am delighted I experienced that on a personal level. Books can never capture the real experience. In fact the the artistic references I use in my dissertation were all based on books and films. However, now I can refer to them on a personal level with the aid of your exhibition, which will hopefully bring my dissertation to life.

As an architecture student, and my background as an electrician, lighting within spaces has interested me. It can transform ones expe-rience in both positive and a negative manner.In a further chapter, I analysed the Barbican in London, as I feel the nocturnal nature of its landscape creates an ambiance that is both poetic and inviting. In much the same way the Hayward Gallery has an amazing night landscape, that is transformed by the "immaterial material" of light.

Thank you and congratulations for putting such a beautiful and well crafted exhibition together. It would be great to meet up for that coffee and ask you a few questions. However, time is a precious thing, and I completely understand if that is not possible.

From: “Lauson, Cliff ” <[email protected]>

To: Michael O’Donnell <[email protected]> Sent: Monday, 4 February 2013, 9:57

Subject: RE: Complements to the curator

Hi Michael,

Thanks for your kind words. I can meet you on tues or thurs, most times except early afternoon.

Best, cliff


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Fig. 37-39 Light Show at the Hayward Gallery.


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Artists using artifical light employ it as a material in and of itself, compelled by its luminous and intan-gible qualities.

(Lauson, Light Art: An Immaterial Material, 2013, p. 17)


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Lighting in Public Spaces

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Transcript of Lighting in Public Spaces