Touch=
ed by
Light
Siegru= n Appelt1,*
[1]<= /a> 1Langs= ames Licht, Slow Light
Received
12 December 2016, Accepted 07 March 2017
Abstract
With LED as illuminant a new era of
dealing with lighting has dawned. Digitalisation, light guidance and light
quality take on greater significance. Physical and emotional impacts of lig=
ht
on the human being have become common topics in the everyday life of a mode=
rn
society. The amount of light which determines the character of spaces is
steadily increasing. Our visual perception has adapted and assimilated to it
over the years, decades, centuries. What was once perceived as bright today
can¡¯t either be used in a functional way or even less meet current
standardization regulations. The project ¡°Langsames Licht / Slow Light¡±
searches for ways to practically implement theoretical insights and experie=
nce
from the subjects of art, science and design, allowing a targeted use of li=
ght.
Keywords: Sensitive use of light, Sustainable
lighting, Perception (physical, emotional, sensual), From theoretical knowl=
edge
to a practical use of light
1. Introduction
The title ¡°Touched by light¡± may initially evo=
ke
religious associations as light represents the divine, the strong, the subl=
ime,
the elusive, emotions and, of course, the origin of all life.
Already Socrates prayed at dawn under the rising
sun. Socrates – respectively Plato – indicated that the vision =
of the existing
is only possible when light is present. That also the illuminated and light=
are
closely connected, and that without light the object is not visually
perceptible. This knowledge from ancient times has become quite current =
211; since
electricity was invented and artificial lighting has swiftly spread. Just as
contemplation of perception, reality and truth was anticipated by Plato in =
his
allegory of the cave, which today, in times of medialization, seems to be m=
ore
topical than ever.
For my concept ¡°Langsames Licht / Slow Light¡±,=
the
interdependence of matter and light, as well as the question of what we
perceive and how we perceive things, provide the basis for every project ab=
out
a modest, reasonable and also sustainably aesthetic dealing with light.
2. Awareness and Knowledge – first steps in deal=
ing with
light
The concept ¡°Langsames Licht / Slow Light¡± is
concerned with raising awareness for the various effects and interactions of
light. Collaborating closely with engineers and scientists from different
disciplines, I question viewing habits and the impacts of light, while
exploring the possibilities of current technologies. I am convinced that we=
are
far from exploiting them to their full potential. As omnipresent as the med=
ium
of artificial light may be in our everyday life, the need for scientific
research and our lack of knowledge about how to deal with new technologies =
is
just as great. As a result there is a need to create an awareness of the
different approaches and to bring them closer together. Dynamic systems, for
example, confront us with technological challenges. They are fault-prone and
run on software that must be set up and looked after by specialists. The
programming of these systems is extremely complex.
For a sensitive use of light we need to create an
adequate environment. Cooperating with political representatives of the
communities is essential for the success of modest lighting. Once people are
sensitized, they start to realize and recognize the different qualities of =
light,
and discuss them. For me this is always a first major step to a deliberate =
use
of light, which may continue in further projects and finally affects the
general view of night-time spaces in communities.
Fig.
1. Sensitive use of light
3. Influen=
ce
of light – physical and emotional perception
Light
is almost always present. Depending on the situation, our constitution or o=
ur
conditioning, we can experience the same light in a negative way as well as=
in
a positive one. Perception is a complex, physical process that always also
causes emotional reactions. Sensory-input is neuronally processed. Only a p=
art
of the information reaches our consciousness. Arriving information is
constantly correlated with our experience, our knowledge and the abundance =
of
associations, we are capable of.
When
a ray of light falls through building openings, it gives the room a certain
magic atmosphere. We physically react to it. We decelerate our steps or sta=
nd
still; we lower our voices or remain silent and listen. In this case, inter=
action
of environment and light has an essential influence on our feelings, our
perception and our behaviour.
Fig.
2. Daylight concept for a church, Lichtenberg 2008/09 – Siegrun Appel=
t with
Andrea Konzett
4. Impact =
of
light
4.1. The po=
wer
of light and its manipulative force
Light
generally represents the good – shadow or darkness represent the bad.=
But light
also has a destructive, deadly power. Bundled light is used as a weapon. A
laser beam, whose precise ray cuts firm material, is able to cause injuries.
Stronger lasers are used for missile defence. Very bright and dazzling ligh=
t is
one of the methods of white torture, which doesn't leave visible damage on
people, but tortures them by exposing them constantly to light. The permane=
nt
illumination causes stress in the victims, they lose their sense of time, t=
hey
can't sleep, and in the end this weakens their physical functions.
As
an artist I go similar ways, when I work with light. I use light to touch
people. I share this purpose with experts from different scientific areas a=
nd
also with architects and designers.
4.2. Art and
science
Art allows me to act from a subjective point of =
view
– whereas in science reasonable research results are required. As an =
artist I
make claims which are based upon my personal experience and my observations,
whereas scientists are not allowed to do that – they observe third pa=
rty's
experience and analyze it with scientific distance and best possible
objectivity. These two approaches complement one another and can support ea=
ch
other.
5. Percept=
ion
5.1. The
individuality of perception
Being touched by light takes place in my art on =
all
different levels. Some of my works are based more on physical perception. S=
ome
works rather address our visual perception. And all of them touch our
associations and worlds of memories.
Each viewer and user of an artwork has his own v=
iew
on it. This fact brings us to an old theme of art – the viewer comple=
tes the
work and every viewer does it in a new way, over and over again.
5.2. Two
installations – 64 kW / 114 kW
The installation ¡°64 kW¡± that was shown at the
Venice Biennale of Architecture in 2008 and a comparable installation with =
the
title ¡°114 kW¡± in Frankfurt at the Kunsthalle Schirn in 2006 are two exam=
ples
for immediate and physical contact with light. At the Kunsthalle Schirn
visitors became quiet due to the impression of bright light.
Fig.
3. Friendly togetherness: people are focused on the light and have the chan=
ce
to be in the light without aggression or pushing each other. Many visitors,
even the children, reacted spontaneously by taking the same posture as these
young men did in Venice and Frankfurt.
Fig.
4. 64 kW – 32 bright lights on the ceiling of the entrance area are d=
irected at
the same point on the floor. Visitors have to pass the light before entering
the pavilion. The focused brightness blinds the eyes and the heat of the li=
ghts
is too for staying more than a few minutes. Light intensity: ~ 470,000 lux =
(4.7
times brighter than the sun o=
n a
cloudless summer day) It is a very direct, almost simple confrontation with=
the
medium of light, with energy and also with the question of a conscious use =
of
it.
Fig.
5. The scene shows three different reactions to light. The man who is locat=
ed
directly in the light is trying to shelter from the destructive power of li=
ght.
The woman at his right seems to enjoy the powerful light and turns to it. T=
he
man in the foreground of the picture is just an observer of the scene in the
light.
5.3. Sound =
and
light – interaction of stimuli
Relations
between space, time and movement have been always very important to me. Nat=
ural
light constantly changes, moves and influences space and time and also all =
of
nature, not only human beings.
In
what way a certain light atmosphere and a certain light intensity influence=
the
existing, and also the perceived sound level of a space, and how a certain
noise level affects light intensity and light atmosphere, is a neglected
question regarding dealing with light. The interaction of the several stimu=
li
and its influence on – or rather manipulation of – our percepti=
on is a topic of
research I consider to be crucial if we want to find new ways of dealing wi=
th
light and with space. That is why I concentrate my observations on this top=
ic
and draw attention to it for quite some time now.
5.4. Physic=
al
limits of perception
The sensory stimulus that hits us provokes a
physical reaction in terms of adaption and simultaneously influences our
perception of other stimuli, for example sounds, smells or temperature. If a
sensory stimulus is very strong, the fine nuances get lost and other stimuli
struggle with coming through. The concentration rests on the bright, the lo=
ud,
the strong smelling.
Regarding my long-term observations and what I k=
now
about perception, I assume that a defensive mechanism is activated, as capa=
city
has physical limits. Our body reacts within these limits while processing t=
he
stimuli. Too many or too strong stimuli stress us.
Therefore an appropriate coordination of the sti=
muli
and their intensity is very important for our perception. Of course this al=
so
concerns the question of safety. What do I perceive? What do I want to
perceive. Where do I feel safe, and where am I actually safe?
5.5. Safety=
–
spatial visibility versus light intensity
As we all know, more light doesn't necessarily l=
ead
to more safety. Bright light can cause strong contrasts, which irritate our
eyes and block our vision of the environment. To me, spatial visibility see=
ms
to be more important than light intensity – this means a good interpl=
ay of
light and dark, vertical as well as horizontal, with smooth transitions, so
that the space itself becomes graspable in its dimension.
6. Master plan – pathway
lighting, Bregenz, 2005
The spatial visibility was also an important poi=
nt
concerning the path lighting as part of a master plan which I designed for =
the
lakeside area in Bregenz in 2005. With the support of the lighting company
Zumtobel I created a masterplan with a light system and a Full-Cut-Off lamp
that reacts to motion by changing discreetly, getting brighter when necessa=
ry.
It was published in the company¢¥s annual report. My intention was to enabl=
e a
good view of the nocturnal space and the lake, as well as to save energy.
Intelligent systems, like we developed in 2005, =
have
become interesting for many cities over the past few years. In 2005 we were
quite early in the process of the development as I could slip my artistic
experience with light, space and perception into the functional implementat=
ion.
This shows how important it can be to cooperate and to bring together the
knowledge of different disciplines.
Fig.
6. The picture of the pathway lighting in Bregenz shows the good overview o=
ver
the space very well. The space looks welcoming although it is not extensive=
ly
illuminated.
Fig.
7. Comparison old light – new light On the left side the space seems =
close up,
on the right side it is overseeable even in the background.
The common lack of knowledge regarding light and=
lighting
unfortunately implies that bright, extensive light is associated with more
safety. That is why in many cases a problematic handling of light is not ev=
en
recognized.
7. Light / shadow / darkness /
environment
7.1. Percei=
ved
darkness
Light and shadow possess an almost infinite weal=
th
of variations. Natural light constantly changes from very bright to complet=
ely
dark. Peter Sloterdijk says about the relation of light and shadow: ¡°Where
there is much light, there is also much shadow; where there is too much lig=
ht,
darkness reigns.¡± This is not only true on a metaphysical level but can al=
so be
applied to what our eyes see or do not see. We visually perceive darkness w=
hen
there is no light, but also when there is too much light.
Fig.
8. The brighter the night, the more we feel threatened by darkness.
One single bright light can create such sharp
contrasts, that the eye is irritated and blocks our vision of the surroundi=
ngs.
In order to protect the retina, our eyes always adapt to the brightest part=
s in
our field of vision. And as soon as our eyes have adapted to the brightness,
everything around us seems darker. So basically, a lot of light can impair =
our
vision of the surroundings.
7.2. Automo=
tive
lighting – sharp contrasts
The same problem applies to automotive lighting.=
The
brighter the car headlights, the higher the potential for stress, not only
because we are blinded by looking into the light, but also because of eye
adaption the driver perceives the normal ambient light beyond the bright li=
ght
cones as too dark.
Fig.
9. View with dimmed headlights
Average stopping distance = at 50 km/h comes to 27.5-40 metres, at 70 km/h it comes to 45.5-70 metres and at = 100 km/h to 80-130 metres. The respectively shortest braking distance applies to emergency braking . An ordinary dimmed headlight has a range of 50-70 metres. Until a speed of 50 = km/h the stopping distance is located within a safe area, if the obstacle enters= the light from the front, not from the side.
7.3. The
interdependence of headlights and public lighting
If the headlights of cars are to become ever
stronger and ever more precise, communities have to bring the ambient light=
in
line as well in order to perceive what is going on behind the light cones. =
If
they do not, the stopping distance can be too short. We definitely feel saf=
er
and drive faster the brighter the lights are and also the more light there =
is
in the street. In a slow process, the municipalities respond to bright
headlights with all-encompassing bright lighting.
Regarding my observations of the last 20 years, I
came to the conviction that the ever brighter headlights have an immediate
effect on public lighting which will gradually adapt to the brightness. The=
re is
no real awareness of this yet. Even the people working in planning are igno=
rant
of that aspect.
It definitely makes sense to start discussions a=
bout
the interaction of headlights and environmental light with the responsible
decision-makers in politics and industry. In my ¡°Slow Light¡± projects I t=
ake
every opportunity to talk about these topics in various contexts, and I have
received the impression that the attention to these issues is constantly
growing.
The lights of bicycles and motorbikes develop in=
the
same direction. It really surprises me how people use dazzling bicycle ligh=
ts
without being aware of the responsibility they carry. Anyhow it would make
sense to cooperate with the vehicle supplier industry in finding alternative
systems.
8. Langsames Licht / Slow Lig=
ht –
in the Wachau region
In 2010 I was invited to do lighting projects in=
the
Wachau region, a UNESCO World Heritage Area near the Danube. Until now we h=
ave
completed 17 projects in different communities. The foundation of all the
projects is a conscious and cautious approach to the illumination of noctur=
nal
spaces and cultural heritage.
Fig.
10. Energy consumption new – 132 watt
(Parish church of St. Nikolaus, Emmersorf 2012)
The interplay of light and= shadow gives the parish church of St. Nikolaus in Emmersdorf a mysterious and eleg= ant presence. At night the building appears in all its three dimensionality.
Fig.
11. Energy consumption old – 2000 watt
Fig.
12. Energy consumption new – 192 watt
(Church St. Johann im Mauerthale, 2011)
LED
spotlights are aimed very precisely at the building without producing any s=
tray
light.
Fig.
13. Energy consumption old – 2400 watt
Fig.
14. The entrance to the building is indicated by a warm 60-watt carbon fibre
light bulb. Fassade: LED, 3000 Kelvin, 132 watts.
9. Conclusion
The intention of ¡°Langsames Licht / Slow Light¡=
± is
to contribute theoretical insights and artistic experience to functional
projects. The step from theory to practice is very complex. Where science a=
nd
art end, a link to functionality is required, but which is often missing. At
this interface, worlds drift apart that I would like to see united.
To sophisticatedly transfer knowledge into the
practice-orientated use of light one first step is the involvement with the
perspectives and targets of nature sciences, cultural sciences, art,
architecture, economics and politics.
Not until then the insights and the experience o=
f the
respective areas and new technological developments can be linked to each o=
ther
and be reasonably integrated in functional projects. It is necessary to sou=
nd
out the overlaps and the points where they complement each other. Conflicti=
ng
insights and contrary targets are checked for possible approximation or are
incorporated in the projects if needed.
A certain use of light can have a positive impact
regarding the targets of one discipline and at the same time show negative
effects when it comes to a different discipline. Here is one example from t=
he
medical area: a certain composition and intensity of light may – seen=
from an
ophthalmologic point of view – cause damages of the retina while also=
– seen
from a therapeutic point of view – have a positive impact on the prog=
ress of a
disease.
Also regarding the issue of safety there are
different approaches to the use of light. In the context of urban planning
whole public areas are provided with a new illumination which is more exten=
sive
and brighter in order to ensure more safety. The new lighting leads to an
adaptation effect within population. As a consequence of this adaptation
process the areas surrounding the zone with the new light are perceived as
darker and more dangerous than previously. What happens here I call ¡°exten=
ded
adaptation¡°: the modification of one area and the concomitant adaptation
process have a direct influence on the perception of the nearby areas and a=
lso
of areas that are further afar. The feeling of safety increases in the area
with the new light and – as a consequence of this – decreases i=
n the areas
where the light has stayed the same.
As the safety of a place not only depends on the
light situation but also on cultural, aesthetic, temporal and social factor=
s,
it is important – especially in such delicate cases which are respons=
ible for
processes of change in society – to cooperate with specialists of the
respective disciplines in order to work on new and optimised solutions.
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