We are currently living in a society in which interactivity is at an all-time low. People are glued to their cell phones, tablets and computers, preferring to communicate with pixels and images than other human beings. It often leads to one feeling alone, even amongst a sea of people. This is also true outside of interpersonal relationships. There is a growing lack of engagement in narrative and the design of that narrative. We see Rocky: The Musical, Amelie: The Musical and Shrek: The Musical. There are playwrights re-hashing the living room drama over and over again, afraid to venture into new material, becoming obsessed with perfecting an unattainable formula. In a constant cycle of re-hashing previously successful franchises and tropes into different mediums, designers lose the opportunity to grow. However, with the rise of smash hits like Hamilton, Dear Evan Hansen and Then She Fell, designers find a place to dazzle spectators with raw, enthralling artwork that creates a sense new audiences are missing more than anything: Wonder. To continue the creation of relevant, diverse and genre-defying theatre, designers must be trained to hold authority over the elements of design. These include the concepts of line, shape, color, texture and scale. A designer must know when to trust their instincts and when to rely on time-proven techniques. A designer cannot be afraid of building something new. In addition to this, a growing emphasis is being placed on a designer’s mastery of multiple disciplines. By having a more-well rounded education, a designer is more of an asset on the team.

The field of lighting design is a highly specialised one. The control and manipulation of both natural and artificial light is a difficult aspect of building design. Proficient architects, interior designers and engineers must currently draw on their own experience and resources to evaluate their lighting designs. However, most often lighting design is overlooked and not fully understood by building designers. Those lighting designers that do have a good understanding of lighting are hampered by current conventional design methods when dealing with alternative and creative lighting designs. This is especially the case when dealing with natural daylight which tends to be under utilised, particularly in climatic areas that differ greatly from the European standard daylight design skies.There is clearly a need for a tool that enables building designers to quickly and accurately evaluate their use of localised natural light and specific artificial light in their building designs.The recent development of accurate, physically based computer models and the resulting photo realistic computer rendered images, can provide the basis of a platform for lighting designers to visualise their lighting designs. Such lighting platform enables designers to make more informed design decisions when looking at new approaches and unusual situations.The aim of this thesis is to explore and formulate a working example of such a lighting design platform, where by designers can easily evaluate lighting and daylighting designs based upon real world lighting and localised atmospheric conditions. / The designer is presented with an easy to use graphical user interface, that is able to produce a photometrically accurate photo realistic computer image.This platform was achieved through the development of three key areas. The first was the creation of a process of integrating a specific physical based rendering program, RADIANCE (Ward 1996)into an existing three dimensional computer aided design modelling package. The second area consisted of creating a localised daylight model suitable to improve the accuracy of the physical based renderer when dealing with specific local atmospheric conditions. This daylight model was based on Kittlers' sky irradiance model (Kittler 1982a). The final area was the development of a graphical user interface that provides an easy to use, front end to the lighting design platform.The results of this thesis exist in a working suite of programs and graphical user interfaces where local daylight and atmospheric condition can be specified and a photo realistic image of a design produced. The success of this platform can be demonstrated by the quality of the images that are produced. A designer can begin to use the interface with ease after very little instruction and thus start to quickly evaluate their design in terms of lighting manipulation and control. This ability to visualise and assess lighting and its effects, both natural daylight and artificial, will inevitably lead to a higher quality of successful building designs.

The main purpose of this research project was to implement a combination of computer graphics and processing to generate displays that will aid in the visualization of the colour rendering properties of a range of light sources, including the new generation of high-output LEDs (light emitting diodes) that are becoming widely adopted in general lighting service. The CIE (International Commission on Illumination) has developed a colour appearance model CIECAM02 for use in colour imaging and colour management, and this model is utilized in this work. This thesis describes the design and construction of a computer-based model that can be used as a research tool for the simulation and demonstration of the colour rendering properties of various artificial light sources. It is a comprehensive study of the colour models and measurement procedures currently in use in the lighting industry, as recommended by the CIE. This research project focused on the display of a set of surface colour patches as if they were illuminated by a specific light source, and the simultaneous display of two such sets to demonstrate the surface colour differences arising from the use of the two different light sources. A VIS (virtual imaging system) has been developed to display the colour properties of a series of test colour samples under different light sources. This thesis describes the computer models developed for the representation and display of surface colours in general, and colour rendering in particular. The designed system computes and displays the colour of each sample from a knowledge of the light-source spectrum and the spectral reflectance of each surface. It can simultaneously display the colours resulting from illumination by two different sources. In addition, the system computes the colour appearance differences for two sets of colours using the CIECAM02 colour appearance model. Subjective and objective tests were taken to validate the computed results. The VIS has been designed and implemented. It also has been tested by 21 observers and we believe that it will be a powerful research tool for the lighting industry, especially in relation to colour rendering.

This paper presents an experimental study with 47 participants on the influence of lighting on performance and well-being in an office environment. Well-being, alertness and performance were evaluated and measured in two rooms with artificial lighting and one room with day lighting. The evaluations were correlated to cortisol/melatonin saliva samples, illuminance and spectral compo-sition of the lighting. The results show day lighting to have a sustained influence on alertness and performance and it is furthermore concluded that the level of cortisol in saliva was not influenced by the illuminance and did not have an influence on performance. The participants preferred a lighting with different kinds of light sources to a more neutral lightning and gave it higher ratings for well-being.The analysis shows that comfort did not influence alertness.

This degree project has been performed on commission by Örsjöbelysning AB. The task has been to study alighting armature and compare it to the demands of The Swan Ecolabel. The task was also to recommend adjustments to improve the environmental adaption of the product to meet the demands of The Swan Ecolabel. Furthermore the task has been to gather documentation on the elements of the lighting armature. Such documentation is required to obtain The Swan Ecolabel. The Swan Ecolabel's vision is a sustainable society, in which future generations can benefit from the same conditions and opportunities as we ourselves do. Everyone nowadays is very aware of the environment and its importance, this has led to higher expectations on the industry. That is why the use of Ecolabels is getting more and more common. The Swan is one of the most well known brands in Sweden. 2008: Nr 8 Teknik

Why do we do sport? Why do we consider what we eat? Why have our parents done doctor’s checking for us when we were kids?  One answer is to keep our healthiness. Healthiness is a main key in my master degree project. In this project I have explored such daily life behaviors that influence on our physical healthiness. I have looked into the ‘health’ as a main topic and ‘quality of life’ as a sub-topic from three perspectives: medical science, life-style studies, and industrial design. I have collected information from specialists, designers, and target users by use of surveys and interviews besides of literature studies. I have applied the outcomes of the research in designing a lamp in order to adjust the sleeping and awakening time. The health-oriented function of the lamp is based on the colors of light which it provides. In Nordic country there is a special situation in terms of day-light. It is different in north and south parts. But in general in half of the year specifically in few month most of hours of 24 hours are dark and it’s opposite in another half of a year. This situation effects on a human-body biological clock and disturbs times of sleeping and awakening. To re-adjust right timing I have suggested using a lamp which provides a variation of lights from bluish cold to reddish warm.

Thesis (Ph. D.)--University of Missouri-Columbia, 2003. / Typescript. Vita. Includes bibliographical references (leaves 111-118). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2003. / Typescript. Vita. Includes bibliographical references (leaves 111-118). Also available on the Internet.

Thesis (M.S.)--Florida State University, 2003. / Advisor: Dr. Lisa Waxman, Florida State University, School of Visual Arts and Dance, Dept. of Interior Design. Title and description from dissertation home page (Mar. 2, 2004). Includes bibliographical references.

This project explored a new work in the lighting and video area of the entertainment industry. This thesis archives the creative process of this specific new piece, resulting in a realized and finished work open to the public. The Box opened in the Oscar Brockett Theater on the University of Texas at Austin campus on March 19, 2012, and ran from 10 am to 7 pm for three days. The Box was an installation piece of art that told a story. This seemingly simple structure of a large black box contained a surprising inner life. The sculpture had an opening cut into its side, which upon entering transports the viewer into a space with a modified perspective. More than one person can view the piece at a time. Visitors entered the box and became immersed in a world of manipulated lighting, video, and sound. Characters existed in the form of animated light, color, and audio. These characters expressed elemental energies of air, fire, earth, and water that communicated primal emotions. The Box wove a narrative fabricated from lighting, animation, sound, and manipulation of perspective, without using traditional methods of storytelling such as actors or speech. While The Box was on display, viewers visited multiple times and interacted with the environment in different ways. Dancers danced in The Box, actors delivered monologues, and some viewers simply lay on the floor and became part of the art itself. / text