Presentation and hiding of light
This is ontology, which concerns the essence of reality, and reflects the inseparability of matter, space and time at this time. But the performance of light on living things is like a journey of time and space, not restricted by this material.
There are two types of light installations: explicit and implicit. The night lights outline the shapes and layers of the woods, giving them vitality and agility, a sight that only exists in our minds. Recessive light sources make objects glow as if they were illuminants, which gave birth to our night design project in 1994-a mobile car light device that can adjust the beam width and reflect the light, keeping necessary Light and dark contrast.
This technique of using light improves the expressive power of light: it avoids the harm of direct light to the eyes, and it is bright but not obtrusive. The duality of light is best explained at night. As if losing the sense of time and space, the original magic of light is to attract people's attention to the object rather than to itself. Buildings, materials, and colors change with light, as if they were their own vitality.
When you enjoy the light, you don't think about the concept of space and time. You can turn a blind eye and bathe in it without feeling dizzy. This is not completely hidden, there is no darkness at all. Rather, it is an invisible being, like the rising sun, which reflects the sky before it rises. The essence of concealment is the separated presentation, the presentation of light gives life to all things.
Run out where you need it
Light seems to be a chemical reaction: magic that can only be created with the correct, precise dose. There is no need for multiple light sources in the room, and one lamp is sufficient for visual and emotional needs. This reminds me of the spotlights of the theater, where the audience follows them and casts their gaze somewhere, and at that moment mobilizes all the sensory experiences. This kind of light has a dramatic effect and is one of the functions of light ------ stage lighting.
Those delightful behaviors, cherished things, and useful things all need only one light source: a lamp installed above the dining table with only half the brightness around it; paintings on the wall; small candle lights on the corner temple It is a case of precise use of light. Light, the only light, appears where it is needed.
Thickness of light
If light has a mass, it has thickness. If light casts a shadow, it has mass. Shadows are born from light, creating a sense of space. Light invades space in different ways and shapes different space characters; we often use light to create spaces precisely: porches, colonnades, loggias.
The shadows on the front of the building cover the colonnade during the day and can only be seen at night, so the light helps people discover and appreciate the building itself. Light is actually a material, and we should use light like other materials. It has mass, weight and thickness, a thickness that cannot be directly sensed.
The thickness of light can only be reflected by the depth of the illuminated object. . This is a more expressive thickness, deep and difficult to understand, tangible and fuzzy, and more powerful than plain lighting. In my work, I fixed the lighting installation in the ceiling and the hole in the wall, which is invisible and performs its basic lighting function.
I made the thickness of light. The light falls on the church floor through a semicircular vault and has an indefinite thickness; the light on the pages of a book as we read it has a very small thickness. Light makes space consistent and has some mystery.
Building materials alone
Light allows us to see, light helps us to work, light allows us to appreciate beauty. The design of light serves the building. In addition to the building materials, the architectural design also includes light elements; light reflects materials, colors, spatial depth and emotion. Architectural design is, in a way, the design of light.
Some countries in the north do their best to make the most of the use of natural light, and countries in the south also want to try this function of light. Natural light and building materials are originally one. Unfortunately, since the invention of artificial light, the design has been separated from the lighting, and light often becomes a follow-up behavior: only the pre-existing architectural shapes are modified to play an emphasis or hidden role. However, the invisible but perceptible light is integrated with the buildings it inhabits.
Experience tells us: really good lighting design is completely integrated with the building and glows itself. When the architect is in the embryonic stage of design, the design of light must be involved. The architect should know how to arrange the lamps to reflect the structure, materials and space coordination. Only in this way, the final effect can show a clear design philosophy-unity and purity. There is no lag in light design. Light must be fully integrated into the building space. Light has become an architectural language, not just a metaphysical element. Light design is light creation and vice versa.
The beauty of shadows
The power of light is comparable to the power it extinguished; light and darkness interweave to outline the shape of the building. Light is dialectical. When we talk about light, we cannot avoid shadows. Shadows are the other side of light. From both sides, the shadow is void and the light is full. When designing light, we pay more attention to light and ignore shadow: taking both into consideration will inspire design inspiration.
During the day, the light falls low on the outer corner of the porch, while the top of the inner corner is semi-dark. At night, deliberate lighting will change the perspective of the space. The mystery and complexity of shadows helps us understand architecture better. I can turn perfect symmetry into charming asymmetry. The light on the arches would be dull without the presence and movement of shadows. Shadows pacing on the curved surface of the arch, moving between the stigmas, waiting for us to discover the architectural characteristics of the arch. Obviously, what the shadow hides is actually manifesting.
The shadows are connected to the building, sometimes larger and smaller, appearing again and again, showing the outline of the building, letting us have an abstract memory of light. Urban buildings lack the use of shadows. The flat and invisible shadow reflects the aesthetic beauty of mathematics and the relationship between the whole and the part of the building. In fact, the invisible but ubiquitous shadow can express more meaning.
In buildings, shadows are always connected to objects, and material and non-materials are inextricably linked by light and shadow water. Da Vinci once said in "Painting Theory": "Shadows are mirror images of objects. Without them, it is difficult for people to properly understand solid and opaque things." Shadows are elements of nature, while adhering to personalized rules of description In the end, it became an integral part of the real meaning of architecture. Knowing the strong scalability of the shadow, Galileo revealed the mysterious color of the surface of the crater moon in "The Star Courier", and said, "If there is a shadow, I will create this shape for you."
In Renaissance humanist art works, shadow played a role in shaping space from a perspective. Because of its time-varying nature, shadow has become a means of design, giving static works a vitality. In the book About Architect Opalinos, Paul Varelli asked Fidelas (the Roman allegorist of the first century) and Socrates (the ancient Greek philosopher) to start a virtual dialogue by night. , A subtle analogy of architecture and music. The former belongs to tangible space art, while the latter is invisible abstract art. Varelli hinted at the similarity of shadow and musical resonance. The shadow tells us the volume and shape of the building, and the polished music reflects the tone and variety of the instrument.
In classical architecture, loggias, arched verandas, gardens, green corridors, figure-eight windows, walkways with windows, and vaulted sections have all returned to a transparent style, making full use of the relationship between light and shadow. The light and shadow elements that reflect the logic of the building are so clear that they have become a means to play a special and spontaneous architectural effect in the constant change. They emphasize the vertical depth of the building and highlight the elasticity of its shape change. The contrast of light and shadow formed during the cycle of day and night and the four seasons makes the building appear different styles.
The shape of shadows has great consistency in contemporary architectural language: cornices, half-cut solar walls, and overhead columns are the latest expressions of clever use of shadows. Light and shadow are always bravely interdependent, and this relationship has become our rich source of inspiration, because our shadow design for light projection is better than light design. We design for light, but the design room is named upo, where o stands for ombra, the English meaning is shadow.
Our design philosophy comes from the observation and learning of natural phenomena, thus creating unnatural, real, non-artificial light. Our creative path begins with this concept: Compared to light design, we are more about designing standard, sizeable, controllable static or dynamic shadows, and we are no longer dominated by the sun. We have created brand new shadows, and a few generations ago, whether under the influence of sunlight, fire or candlelight, the shadow has been moving and cannot stop completely. Today, we are devoted to the creation of shadows in design. The works embody the charm of darkness, and shadows are the concealment of light, which just happens to be a means of expression.
In the Scala Opera project in Milan, Mario nanni illuminated the front of the Grand Theatre with poetic lights. The vivid and changing lights move constantly, adjusting and changing the light-receiving wall, as if telling a story. The entire lighting system is telling and conveying emotions. Through the sequence, level and depth of the building, the plane and volume of the building are expressed. This design project changed the boundaries of the front of the theater, used lights to break the boundaries between the interior and exterior of the theater, and exposed the exterior, levels and aisles of the theater, providing a new interpretation of the original structure of static elements.
This light work brings the charm of the performance that took place inside the theater outside the theater, showing it in front of people. The theater is no longer a closed space, but extends to the outside, attracting passers-by to stop at Scalago Square. Usually, as the curtain of light is pulled up, people see the stage and the red front seats. Mario nanni's lighting design is different, it aims to connect the theatre and the plaza, the opera and the audience. The striking red curtain opened, and the story began. The little star in the night sky glowed faintly, and people could barely see it. This is just a prologue, waiting for the lights to come on. Guided by stars in the distance, the light show changes every day, leading the audience to gradually enter the climax experience of the theater.
In this way, the theater has gained a new season: performances for 50 consecutive days, each hour is different, and the design of the light details changes to update and tell different plots. The advent of Christ, love, passion, expectation, waiting, the light of dawn, the burst of vitality, talent: a light show designed by mario nanni illuminates the Milan Grand Theater, telling the story on the stage created by light.
The light show lasts 24 minutes, and a minute represents an hour of the day. The light follows the rhythm of nature and captures every aspect of the city and the protagonist from sunrise to sunset: architecture, symbolism, narrative and descriptive storyline.
Light source determines color
The colors of the world are ever-changing, and nothing can keep the same color throughout the day. Clouds and sun, winter and summer, shops and streets, all things bring us different color visions as the environment changes.
We use this inconsistency as inspiration and method for design, expressing this magic consciously; guaranteeing color change even when designing artificial light. Light of different brightness will have a slight difference, and the intensity of the light will change or weaken the color of the receiver. The light cast by the device also changes the color of the object. No matter the warm day or the cold night, the color is determined by the light source.
The color of all things in daylight returns to darkness as the light disappears. Darkness takes away all color; because color itself is visible light, night color fades objects. All said that light gives everything its own color.
The joy of nothingness
Feeling all kinds of happy emotions in the space surrounded by implicit light, and experiencing certain emotions through both eyes, this is the joy from the imagination. Subtle light gives more meaning to things, transmuting an invisible magic.
People experience these emotions through the unconscious power of light. Nothingness represents space. Light injects and enhances the space. The naked surface is suddenly put on the coat of light. Some emotion arises out of nothing. A work of art (such as the work of the cherry miracle created by the saint nevol) by the artist Francesco Foschini can convey and evoke certain emotions, and the light of wisdom created by lighting designers quietly deepens these emotional experiences. The design that uniformly lights a painting is not desirable; the key to lighting is to set the background and attract the attention of the viewer.
In addition to letting the audience see the painting clearly, the clever lighting can also gain deeper aesthetics. Highlights can be used to highlight certain places while hiding the magic. A gesture, a beam of light is enough to express expression. It comes from nothing but real existence.
Text 丨 Chen Yi Lighting Design Editor 丨 Xie Jianqun The article is reprinted online, if infringement, please contact to delete!