Thematische Bibliographien / Lighting qualities

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Konferenzberichte

Auswahl der wissenschaftlichen Literatur zum Thema „Lighting qualities“

Autor: Grafiati

Veröffentlicht am 25. Juni 2021

Zuletzt aktualisiert am 10. Februar 2022

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Zeitschriftenartikel zum Thema "Lighting qualities"

Barati, B., E. Karana, D. Sekulovski und S. C. Pont. „Retail lighting and textiles: Designing a lighting probe set“. Lighting Research & Technology 49, Nr. 2 (03.08.2016): 173–94. http://dx.doi.org/10.1177/1477153515602953.

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This paper investigates the interaction between retail lighting and textiles to provide retailers and lighting designers with a set of physical textile objects that can be used to test the visual effect of a lighting setting. Since the relationships between optical aspects of lighting–textiles interactions and subjective qualities associated with them have not been systematically investigated, we conducted two experiments to study those relationships. The first experiment concerned photometric measurements of textiles in order to categorize the reflectance types. The second experiment examined human observers’ judgments of a range of material-expressing qualities, such as shininess and softness, in two canonical types of lighting. The textiles for which the differences in those qualities were maximal were used in designing a lighting probe set.

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Zhang, Fan, Huib de Ridder, Rene van Egmond und Sylvia Pont. „The interplay between material qualities and lighting“. Journal of Vision 17, Nr. 10 (31.08.2017): 228. http://dx.doi.org/10.1167/17.10.228.

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Kavtarashvili, A. Sh, E. N. Novotorov, T. N. Volkonskaya und S. P. Ridzhal. „Productive qualities of chickens under various lighting spectra“. Russian Agricultural Sciences 33, Nr. 2 (April 2007): 118–20. http://dx.doi.org/10.3103/s1068367407020152.

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Ebbensgaard, Casper Laing. „Standardised difference: Challenging uniform lighting through standards and regulation“. Urban Studies 57, Nr. 9 (19.09.2019): 1957–76. http://dx.doi.org/10.1177/0042098019866568.

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Artificial lighting has received increased attention from urban scholars and geographers in recent years. It is celebrated for its experimental aesthetics and experiential qualities and critiqued for its adverse effects on biological life and the environment. Yet scholars and practitioners unite in their disapproval of uniform and homogenous lighting that follows from standardised lighting technologies and design principles. Absent from debates in urban scholarship and geography, however, is any serious consideration of how lighting designers respond to such standardised measures and regulations. In this article, I address this lack of academic attention by exploring how designers overturn the restrictive challenges posed by the standards and regulations of the design and planning process. Drawing on interviews with designers involved in the lighting design of a mixed-use redevelopment project in Canning Town, East London, I demonstrate how the interpretation and translation of lighting standards and regulations resist the tendency to predetermine design aesthetics and functions. By drawing attention away from the technical specifications and numerical values that are prescribed in standards and regulations, and towards lighting’s experiential and performative effects, the article argues that lighting designers can play an important role in challenging how standards and regulations are measured, defined and maintained. Calling on urban scholars to play a more prominent role in foregrounding this process of translation, I suggest that standards and regulations can provide frameworks within which luminous differentiation and preservation of darkness can be achieved, playing a potentially crucial role in ensuring a socially and environmentally sustainable transition to energy efficient lighting.

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Dugar, AM. „The role of poetics in architectural lighting design“. Lighting Research & Technology 50, Nr. 2 (23.08.2016): 253–65. http://dx.doi.org/10.1177/1477153516664967.

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Architectural lighting design is generally believed to have visual and psychological consequences on humans, and has been investigated either as an artistic or a scientific endeavour. This paper explores the possibility that these two viewpoints are not mutually exclusive with a poetic approach. It builds upon two arguments: the first is that poetry, being an inherently compositional system like language, impacts the perceived meaning of lit environments; the second is that humans seek qualities with experiential richness when interacting with lit environments, which is very much aligned with poetry. This reasoning is supplemented by reflections on the poetic possibilities within realised projects used as simple artistic and scientific case studies to demonstrate this complex visual and psychological interplay. Opinions from academics and professionals from the field of architectural lighting design are sought on these poetic possibilities, the appropriateness of these realised projects in expressing their respective qualities, and on the role of poetics in architectural lighting design in general.

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Lo, VWL, und KA Steemers. „Methods for assessing the effects of spatial luminance patterns on perceived qualities of concert lighting“. Lighting Research & Technology 52, Nr. 1 (08.04.2019): 106–30. http://dx.doi.org/10.1177/1477153519841098.

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This paper presents experimental approaches for evaluating concert lighting from the viewpoints of audience members and performers in Cambridge King's College Chapel. We develop image zoning and abstraction techniques to quantify and interpret photometric data acquired under four different electric lighting conditions. Assessed by 78 participants, these lighting scenarios are compared across six different viewing positions using a set of structured questionnaires. Ordered logistic regression modelling shows that the ratios and functions describing uniformity, brightness and light patterns are common explanatory variables for predicting perceived visual clarity, visual uniformity, brightness and spatial intimacy. Uniformity-related attributes are observed to be among the strongest variables for all these perceived qualities, except for visual clarity, which is better explained by acuity-related measures. These experimental results confirm the applicability of our approaches, highlighting the importance of combining multiple methods and integrating complex architectural situations into the process of understanding luminous appearance.

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Kong, Zhe, und J. Alstan Jakubiec. „Evaluations of long-term lighting qualities for computer labs in Singapore“. Building and Environment 194 (Mai 2021): 107689. http://dx.doi.org/10.1016/j.buildenv.2021.107689.

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Vahedi Moghaddam, Elyas, und Rahinah Ibrahim. „PEOPLE'S EVALUATION TOWARDS MEDIA FAÇADE AS NEW URBAN LANDMARKS AT NIGHT“. International Journal of Architectural Research: ArchNet-IJAR 10, Nr. 1 (26.04.2016): 257. http://dx.doi.org/10.26687/archnet-ijar.v10i1.871.

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This paper attempts to help designers to turn a building into media facade as an attractive landmark for people’s urban night life. The literature survey points towards being dynamic and interactive with observers as the two quality dimensions for implementing this emerging lighting technology. Based on a survey of eleven selected media facades using video films to 250 students and staff at a public university, results identified twelve attributes for these two qualities. However, item analysis and exploratory factor analysis of the results determined only ten attributes actually support people’s attention towards media facade. The attributes of unique landmark, different nocturnal appearance, dynamic colour, informative lighting, artistic lighting performance, on going process, and dynamic advertisement could be categorized under the visual quality dimension. On the other hand, attributes of covert interaction, overt interaction, and predesigned interaction could be categorized under the interactive quality dimension. This study contributes in prioritizing visual qualities for guiding the attractiveness of buildings’ appearances at night, hence enabling the creation of new dynamic urban spaces when designing buildings.

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Dudek, Agata, und Andrii Goroshko. „Surface Quality of the Materials used for Lighting Columns“. Quality Production Improvement - QPI 1, Nr. 1 (01.07.2019): 417–24. http://dx.doi.org/10.2478/cqpi-2019-0057.

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Abstract Quality of the lighting columns plays a major role in the comfort and safety of life of road users. The surface quality of the materials used in the columns is especially critical during extreme weather conditions. Road infrastructure, including street lighting, uses modern lightweight materials from the group of non-ferrous materials or composites. The materials used in the manufacturing process ensure important advantages, such as durability, electrical safety, aesthetic qualities, low maintenance costs, light weight, and easy transport and assemble. This paper presents an analysis of the quality of coatings used for street lighting columns.

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Cavins, Todd J., und John M. Dole. „Photoperiod, Juvenility, and High Intensity Lighting Affect Flowering and Cut Stem Qualities of Campanula and Lupinus“. HortScience 36, Nr. 7 (Dezember 2001): 1192–96. http://dx.doi.org/10.21273/hortsci.36.7.1192.

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Campanula medium L. `Champion Blue' and `Champion Pink' and Lupinus hartwegii Lindl. `Bright Gems' were grown in 8- or 16-h initial photoperiods, transplanted when 2-3, 5-6, or 8-9 true leaves developed, and placed under 8-, 12-, or 16-h final photoperiods. The lowest flowering percentage for `Champion Blue' (<1%) and `Champion Pink' (16%) resulted from plants grown in the 8-h photoperiod continuously. One hundred percent flowering occurred when Campanula were grown in the 16-h final photoperiod, indicating that `Champion Blue' and `Champion Pink' are long-day plants. Plants grown initially in the 8-h and finished in the 16-h photoperiod had the longest stems. Stem diameter was generally thickest for plants grown in the 8-h compared with the 16-h initial photoperiod. However, the 8-h initial photoperiod delayed anthesis compared with the 16-h initial photoperiod. `Champion Blue' and `Champion Pink' plants transplanted at the 2-3 leaf stage from the 16 hour initial to the 8-h final photoperiod had flowering percentages of 64% and 63%, respectively; however, when transplanted at the 8-9 leaf stage, plants were fully mature and 100% flowering occurred indicating that all plants were capable of flowering. In year 2, plants receiving high intensity discharge (HID) supplemental lighting during the 16-h initial photoperiod reached anthesis in 11 fewer days compared with plants not receiving HID supplemental lighting. High profits were obtained from Campanula grown in the 8-h initial photoperiod and transferred at 5-6 true leaves into the 16-h final photoperiod. Lupinus hartwegii plants had a high flowering percentage (96% to 100%) regardless of photoperiod or transplant stage. The 16-h final photoperiod decreased days to anthesis compared with the 8- or 12-h final photoperiod indicating that L. hartwegii is a facultative long-day plant. Increasing length of final photoperiod from 8- to 16-h increased stem length. Juvenility was not evident for Lupinus in this study. In year 2, Lupinus cut stems were generally longer and thicker when given HID supplemental lighting, especially when grown in the 8- or 12-h final photoperiod. Supplemental lighting also reduced days to anthesis. Highest profits were generally produced from Lupinus plants grown with supplemental HID lighting (during the initial photoperiod) until 8-9 true leaves had developed.

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Dissertationen zum Thema "Lighting qualities"

Khairy, Al Madhoon Nada. „Improving Daylight Qualities in Medelhavsmuseet“. Thesis, KTH, Ljusdesign, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-280071.

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The master’s thesis investigates daylight qualities and visitors’ perception in the central atriumof Medelhavsmuseet in Stockholm, Sweden. The investigation started from personal observationof the space where a feeling of darkness was experienced despite the existing skylight.The visitors’ perception of daylight and space were examined through a survey, and it wascompared to daylight simulations where it was proven that the museum’s daylight quality couldbe classified as a minimum. It is suspected that visitor perception of the space was consideredto be bright due to the use of artificial light, and the brightness of the prevailing weather conditionsduring the time of the survey (mid-April). The daylight conditions as per the survey andsimulations are considered to be sufficient if not a little muted during the lighter half of the year,but during the darker seasons, they are likely to be insufficient. Furthermore, it is proposed thatre-designing the skylight, changing the way the artwork is displayed or changing the materialof the skylight could drastically improve daylight quality, in turn benefiting visitor experience.

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Kovacek, Tena. „Principles of Designing an Experiential Lighting Showroom : Finding the Balance between Demonstrating the Experiential and the Technical-Aesthetical Qualities of Luminaires“. Thesis, KTH, Ljusdesign, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-231870.

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An analysis of existing showrooms showed that absence of atmosphere makes it hard for clients to imagine effects in a context, and that lack of guidance by the light makes the experience of the showroom overwhelming or static. Also, clients often prioritize luminaires' design over light effect, even in architectural lighting where design should be negligible. This thesis investigates whether it is possible by prioritizing light effect, to optimize the showroom experience and to direct clients' focus on the light, while minimizing the influence of design on the impression and eventually choice of luminaire. In order to achieve these goals, three main concepts are suggested – guiding light, contrasting atmospheres and sequence of presenting light effects first and luminaires afterwards. These enable good communication about light which is essential for clients to focus on the atmosphere created by the light, rather than price and design. Experiments were conducted in the basement of a Croatian company's office, where the exhibits were not the luminaires, but their light. Visitors' priorities before and after going through the installation changed significantly, which might mean that the light effect made an impact and influenced examinees to base their choice of luminaire more on light effect, than design. It is concluded that the used concepts contributed to putting more focus on the light itself. Instead of focusing solely on light experience or product, a balance between the two was achieved by prioritizing and showing the light effect first, and only afterwards joining it with the product, thus offering visitors a more complete experience of the luminaire.

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Hölbling, Markus. „A HUG OF LIGHT“. Thesis, KTH, Ljusdesign, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-297945.

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This project is an elaboration of how luminaire design can provide for fundamental human needs. Visual needs in terms of task performance, orientability and visual comfort; emotional needs in terms of soothing feelings of safeness and cosiness; and biological needs in terms of circadian rhythm and resetting of our biological clock in the morning. These needs are tested through three bedroom scenarios named focus, contemplation and dawn, each with their own demands and desires on lighting qualities. I have submerged into desired lighting qualities and atmosphere in a bedroom context; into how circadian rhythm can be promoted through lighting design; into how the perception of space can be effected through light; into how responsible use of natural resources can be achieved; and finally into what the impact and consequences of the design intervention are. The investigation is performed in a generic bedroom situation without daylight considerations. A prototype has been produced in order to perform observations and measurements. Through the investigation I can state that luminaire design is able to provide for visual, emotional and biological needs. By simultaneously working with light qualities and shape of the luminaire, and having formulated the specific scenarios focus, contemplation and dawn, qualitative observations and experience could be supplemented by quantitative measurements and drive the design process forward towards intended lighting effects, characteristics and impacts on the human body and mind.

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Blixt, Christofer. „Put the Light Where it is Needed“. Thesis, KTH, Ljusdesign, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-280026.

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In this thesis I have analyzed how the phenomenon level of contrast, a consequence of the relation between level of light and distribution of light, works within urban green areas. For this particular site, the too high level of contrast is a result of the high level of light distributed 1) in the direction of oncoming pedestrians and 2) in a single zone of light and 3) on a too condensed surface area and 4) in a space with multiple vertical elements (in a dark space with low reflectance values). Being in the only lighted area surrounded by trees (vertical elements absorbing or reflecting light), with eyes adapted to its level of light, consequently, makes it impossible to see beyond the path. This since our eyes always adapt to the brightest spot in our field of view, which in all directions is a spot very close to the user. And since adapting to the emitted and reflected light our eyes cannot also adapt to the darkness beyond this enclosed space. Another perspective on this, also related to the very basics of our vision has to do with the task oriented lighting solutions. We humans have two different types of vision - central and peripheral. The central vision is approximately 2% of our field of view, it is the small spot where our gaze focus, the rest is peripheral vision. The strange thing is that modern urban lighting design have focused almost solely on task lighting and the central vision, and left the peripheral vision literally disorientated. Because, in order for the peripheral vision to help us navigate and collect spatial information, it needs variable lightning with multiple zones of light, creating differences in shade, revealing form and depth. The main contribution of this thesis, beyond defining knowledge regarding how light acts in these specific situations, is the development of a lighting design method specifically for urban green areas from a practice based design perspective (see figure 16). And that I have started the work of creating practical knowledge and answers to the question: How can the method be used in practice?

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Buchteile zum Thema "Lighting qualities"

„6 Directional qualities and modelling“. In Code for Lighting, 23–26. Routledge, 2007. http://dx.doi.org/10.4324/9780080490687-12.

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BENJAMIN, L. „Light, Shadow, Color, and the Qualities of Lighting“. In The Naked and the Lens, 68–91. Elsevier, 2010. http://dx.doi.org/10.1016/b978-0-240-81159-8.00021-2.

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„Light, Shadow, Color, and the Qualities of Lighting“. In The Naked and the Lens, 79–102. Routledge, 2012. http://dx.doi.org/10.4324/9780080885285-13.

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„Daylight The importance of windows – A brief history of the development of daylight design – The unique qualities of daylight – Change and variety – Modelling and orientation – Sunlight effect – Colour – View – Energy – Thermal comfort – Glare – Noise – Structure – Window types – Vertical – Horizontal – The Window Wall – Overhead windows – Concealed windows – Glass – Design – Strategy“. In Lighting Modern Buildings, 32–59. Routledge, 2013. http://dx.doi.org/10.4324/9780080496139-9.

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Cappelen, Birgitta, und Anders-Petter Andersson. „Trans-Create – Co-Design with Persons with Severe Disabilities“. In Universal Design 2021: From Special to Mainstream Solutions. IOS Press, 2021. http://dx.doi.org/10.3233/shti210387.

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Technology has potential for improving the lives of persons with severe disabilities. But it’s a challenge to create technology that improves lives from a person’s own perspective. Co-design methods have therefore been used in the design of Assistive Technology, to include users in the design process. But it’s a challenge to ensure the quality of participation with persons with significantly different prerequisites for communication than ourselves. It’s hard to know if what we design is good for them in the way they themselves define it, in a communication situation, which has to be significantly different than traditional co-design. In this paper, we present a new approach to co-design with persons with severe disabilities. We call this process “trans-create”, based on the creative translation we use when translating between cultures. We found that by using familiar artifacts that could be added and removed in the co-design process, we had a language for communication. By adding a personalisable digital layer to the artifacts, we could adapt, scale and redesign both tangible, visual and sound qualities in the situation dynamically. For example, by making it possible for the user to choose and activate a pink music cover card (RFID) that turns the lighting of the entire room pink and changes the music. This implies changing the distinction between designer and user, between the design process and the use process, and the view of what we create during a co-design process. That is why we have chosen to call this process “trans-create”, instead of co-create, what we create for “living works”, instead of design, a hybridisation between design and use, process and result.

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Konferenzberichte zum Thema "Lighting qualities"

Zhang, Fan, Huib de Ridder und Sylvia Pont. „The influence of lighting on visual perception of material qualities“. In IS&T/SPIE Electronic Imaging, herausgegeben von Bernice E. Rogowitz, Thrasyvoulos N. Pappas und Huib de Ridder. SPIE, 2015. http://dx.doi.org/10.1117/12.2085021.

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Langer, G. G., und N. T. Launert. „Lighting Future Naval Ships – Mission Optimized and Human Centric“. In International Ship Control Systems Symposium. IMarEST, 2018. http://dx.doi.org/10.24868/issn.2631-8741.2018.022.

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Progress in lighting technology comes in waves: As the LED is emerging as the winner from the current wave, the digital transformation is pushing the limits of technical possibilities of lighting once more, as it gives access to more degrees of freedom in lighting. Advances over the last decade have significantly expanded the scope of lighting technology: ‘Intelligent Lighting’ yields several new opportunities. Through the advantageous properties of LEDs electric light will be a carrier for optical wireless communication. It finally will provide its users the lost qualities of a natural dynamic light environment as a surrogate of sunlight with all its stimulating effects, thus a ‘Human Centric Lighting’ addressing the biological needs of a ship’s crew with limited access to daylight, increasing their well-being, health and performance on the job.

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