Esta dissertação propõe uma leitura sobre o tema da iluminação artificial, destacando o seu papel em espaços museográficos, por estes elevarem a um expoente máximo, as potencialidades e exigências do desenho da luz. No final do século XVIII, quando os museus começaram a surgir como veículos de divulgação cultural, o seu funcionamento dependia das condições da luz natural. Na transição para o século XX, uma das grandes transformações nesses espaços resultou da introdução da iluminação elétrica, cujo desempenho, desde então, não cessou de melhorar. Hoje, a tecnologia LED surpreende-nos com resultados quantitativos e qualitativos inéditos. Em pleno século XXI, com a atual evolução das sociedades, das tecnologias e das condições ambientais mundiais, enfrentamos um novo momento de viragem. Neste sentido, a pesquisa elegeu cinco tópicos gerais de análise cuja reflexão, em nossa opinião, revela-se determinante para o resultado do projeto de iluminação de um museu contemporâneo. Começa-se pelas Pessoas, porque a luz é, antes de tudo, um elemento essencial à condição humana e, a sua vertente artificial, resulta da invenção do homem. Explora-se o tema da Arquitetura, cujas formas apenas são perceptíveis sob o efeito da luz, originando esta relação indissociável. Avalia-se o Contexto, uma vez que as condicionantes locais influenciam qualquer projeto, mesmo o de iluminação. Prossegue-se com a Tecnologia, indispensável para o desenvolvimento de uma intervenção contemporânea. Enfim, examina-se a Obra de arte, o foco derradeiro de uma exposição museográfica, por excelência. Por último, alguns exemplos contemporâneos procuram ilustrar os temas explorados. E é das iniciais desses cinco temas que surge a palavra-síntese deste trabalho: PACTO. Com efeito, acreditamos que o triunfo do projeto de iluminação museográfico dependerá do pacto, por outras palavras, do acordo e da sintonia entre os elementos cruciais envolvidos no processo: as Pessoas, a Arquitetura, o Contexto, a Tecnologia e a Obra de arte. Através de uma metodologia apoiada na permanente atualização teórica com bibliografia específica, mas acima de tudo, numa participação ativa em conferências e workshops internacionais especializados sobre o tema, procuramos absorver e aqui relatar as mais recentes descobertas e aplicações práticas de um elemento tão dinâmico e interdisciplinar como é a luz artificial. Num museu do século XXI, além da inevitabilidade do pensamento sustentável e eficiente, junta-se ao processo o desafio de adequadamente valorizar a arquitetura, enaltecer as obras de arte com máxima preservação e, com toda a sensibilidade possível, tornar a experiência do visitante funcional e, principalmente, inesquecível. / This work proposes a reading about artificial lighting, emphasizing its role in museographic spaces that raise, in a maximum exponent, the potential and exigencies of lighting design. In the late XVIII century, when the museums began to emerge as cultural spreading vehicles, their operation depended on the natural light conditions. In the transition to the XX century, one of the major changes in those spaces resulted from the introduction of electric lighting, whose performance didn\'t stop to improve since then. Today, LED technology surprises us with unprecedented quantitative and qualitative results. In the XXI century, with the current evolution of societies, technologies and global environmental conditions, we are facing a new turning point. In this sense, this research selected five general topics of analysis whose reflection, in our opinion, is decisive to contemporary museum lighting design results. It begins with People, because, first of all, light is an essential element for the human condition and the artificial version is its own invention. It explores the Architecture theme, whose forms are only perceptible under light, resulting in this inseparable relationship. It evaluates the Context, since the local conditions affect any project, even the lighting design one. It continues with Technology, essential for the development of any contemporary intervention. It examines the Artwork, the ultimate focus of a museum-exhibition, par excellence. Finally, some contemporary examples try to illustrate the explored themes. And with the initials of those five themes it comes the word that synthesizes this work: PACTO (in english: PACT). Actually, we believe that the triumph of a museum\'s lighting project will depend on the pact, in other words, the agreement and the harmony between the five crucial elements involved in the process: People, Architecture, Context, Technology and Artwork. Through a methodology supported by the permanent theoretical update with specific bibliography, but mainly through an active participation in international conferences and workshops specialized on this topic, we tried to absorb and here report the most recent discoveries and practical applications of such a dynamic and interdisciplinary element as artificial light. Besides the sustainable and efficient thinking, a 21st century museum must add to the process the challenge of adequately enhance the architecture, rise the art works perception with maximum preservation and, with total sensitivity, make the visitor experience functional and, above all, unforgettable.

Approximately 300 years ago, French astronomer, Jean Jacques became the first individual to scientifically observe circadian rhythm. Since then, a great deal of study has been conducted, and its findings demonstrate that every human action, including digestion, sleep and waking hours, hormone release, blood pressure, and body temperature, is controlled by a physiological mechanism. More critically, any modification to this clock may have an impact on a person's immune system. The sun's rays are diffused in the sky and contain all the required wavelengths to enable the regular stimulation of the circadian rhythms of humans, animals, and plants. People's health and well-being will be supported if they have adequate access to daylight. However, given the changes in the way of life of modern humans, this is not possible. Additionally, as the human circadian rhythm is greatly influenced by the short wavelengths of the visible light spectrum, the process of LEDification would increase human exposure to LEDs blue light, which might negatively affect their health and well-being. This research involves the development of a new architectural design framework to evaluate and support the process of creating lighting systems that maintain human healthy circadian rhythm. This process develops a model consisting of key decisions made in each stage of the design process and related knowledge domains to successfully integrate dynamic lighting techniques into the building design. The process explains the role of each member, the essential tools, and the flow of the decision-making process. / Doctor of Philosophy / Approximately 300 years ago, French astronomer, Jean Jacques became the first individual to scientifically observe the natural 24-hour cycle in plants. Since then, a great deal of study has been conducted, and its findings demonstrate that every human action, including digestion, sleep and waking hours, hormone release, blood pressure, and body temperature, is controlled by a physiological mechanism. More critically, any modification to this clock may have an impact on a person's immune system. The sunlight provides enough light for the natural stimulation of the human circadian rhythm. However, modern humans spend a lot of their time indoors and under electric light sources. These light sources might have negative impacts on human circadian rhythm and health. This research has developed a new design framework that architects and lighting designers can use to ensure a lighting system that would support occupants' health and well-being.

Lighting is an important design element that affects human health, comfort levels, mood, feelings, and the overall experience in spaces. Academically, light is integrated late in design education. Architecture and interior design schools usually introduce it as a design principle during the second or third year of education. As a result, students perceive it as an additive element in the schematic or design development phases rather than a concept generator from the ideation phase. If we accept that lighting design is essential in the conceptual design phase in order to create better-performing light spaces, then a new lighting design integration is needed in design curricula to encourage students to think about it from the ideation phase, enhance their understanding of lighting design knowledge, and facilitate their cognitive thinking and decision-making processes to eventually produce better performing lighting design projects. The purpose of this research was to develop a new pedagogical framework for the integration of lighting design knowledge and lighting cognitive tools in design pedagogy to invite students to use it as a concept generator from the early design stages and to aid their cognitive thinking to produce high-quality lighting environments. The framework presents a learning path to introduce lighting design in a sequence from the first year of design education according to three main knowledge domains: the tacit, the procedural, and the explicit. The research contributes to shifting the current approach to lighting design education in Kuwait as an example and in architecture and interior design schools in general. The researcher used multiple sources of data to develop the framework. First, she reviewed scholarly work and the literature that address lighting design pedagogy, design pedagogical theories, design curricula development models, the lighting design process, and design cognitive tools to create a logical argument for the framework's theoretical structure and to develop its research methods. Second, she analyzed lighting design documents from the United States' developed lighting design programs and Kuwait University to understand the current lighting design pedagogical structure, teaching methods, cognitive design tools, and foundational lighting knowledge. Third, she interviewed current lighting design educators from Kuwait University to understand the current lighting pedagogical model and sequence. Fourth, she interviewed lighting design educators from the United States to obtain new foundational lighting knowledge, creative teaching methods, advanced design cognitive tools, and other suggestions to improve lighting design pedagogy. Fifth, the researcher transferred knowledge from the United States' developed programs to Kuwait University to develop the new framework. Lastly, she presented the preliminary framework to lighting design professionals and educators using a Delphi Method to enhance it further and to rate its implementation possibilities. / Doctor of Philosophy / Lighting is an important design element that affects human health, comfort levels, mood, feelings, and the overall experience in spaces. Academically, light is integrated late in design education. Architecture and interior design schools usually introduce it as a design principle during the second or third year of education. As a result, students perceive it as an additive element in the schematic or design development phases rather than a concept generator from the ideation phase. If we accept that lighting design is essential in the conceptual design phase in order to create better-performing light spaces, then a new lighting design integration is needed in design curricula to encourage students to think about it from the ideation phase, enhance their understanding of lighting design knowledge, and facilitate their cognitive thinking and decision-making processes to eventually produce better performing lighting design projects. The purpose of this research was to develop a new pedagogical framework for the integration of lighting design knowledge and lighting cognitive tools in design pedagogy to invite students to use it as a concept generator from the early design stages and to aid their cognitive thinking to produce high-quality lighting environments. The framework presents a learning path to introduce lighting design in a sequence from the first year of design education according to three main knowledge domains: the tacit, the procedural, and the explicit. The research contributes to shifting the current approach to lighting design education in Kuwait as an example and in architecture and interior design schools in general. The researcher used multiple sources of data to develop the framework. First, she reviewed scholarly work and the literature that address lighting design pedagogy, design pedagogical theories, design curricula development models, the lighting design process, and design cognitive tools to create a logical argument for the framework's theoretical structure and to develop its research methods. Second, she analyzed lighting design documents from the United States' developed lighting design programs and Kuwait University to understand the current lighting design pedagogical structure, teaching methods, cognitive design tools, and foundational lighting knowledge. Third, she interviewed current lighting design educators from Kuwait University to understand the current lighting pedagogical model and sequence. Fourth, she interviewed lighting design educators from the United States to obtain new foundational lighting knowledge, creative teaching methods, advanced design cognitive tools, and other suggestions to improve lighting design pedagogy. Fifth, the researcher transferred knowledge from the United States' developed programs to Kuwait University to develop the new framework. Lastly, she presented the preliminary framework to lighting design professionals and educators using a Delphi Method to enhance it further and to rate its implementation possibilities.

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This thesis investigates the lighting design theory Light Inside Out, which is the technique of shaping light toward a creation of lighting installation in performance utilizing a lighting installation in performance. It analyzes the differences between two lighting methods: 1) Illuminating a performance by theatrical lighting fixtures from outside the performance space and 2) Illuminating a performance with onstage lighting installations. Examples of lighting installation work done by several celebrated artists are also examined in order to demonstrate the unique creative advantage of using lighting installation in performance. Finally, a presentation of my design process for developing lighting installations for past works as well as my most recently developed designs for “ The Difficulty of Crossing a Field” and “Sunyata: Transfigurations in Silk” are included along with pertinent supporting materials, lighting installation process photos, and production photos. / text

Concerns about global warming are increasing, hence, the urgency to cut carbon emissions. Reducing energy consumption, including lighting energy, is seen as the primary solution. Yet, solving the environmental factor should not come at the cost of other pillars of sustainable development. Rather, maximizing the total value of the building should be the focus. Maximizing value in the context of lighting entails improving the quality of the lighting. This study has investigated how lighting simulation could help in achieving better lighting quality. The aim of the thesis was defined as to understand the underlying architecture of lighting simulation and obtain an overview of its characteristics and applications as well as to study the use of current simulation tools. The theoretical background of lighting simulation (in the domain of Systems Engineering) was reviewed from the literature. This revealed the missing and imperfect links in the solution-to-value chain. The thesis suggests the use of a new base metric, Retinal Illuminance Map, as a solution, which in combination with black box simulation of a visual system can help repair this incomplete chain. The study of the current lighting simulation tools (Paper 1) revealed that illuminance-based metrics, luminance-based metrics, daylight availability metrics, and glare indexes are the most available performance metrics in existing lighting simulation tools. Based on usability, acceptability, availability, and previous references in the literature six software programs (Radiance, DAYSIM, Evalglare, DIALux, VELUX, and VISSLA) were selected and compared. It was found that no single tool could meet all the needs of a designer, hence, simulation tool(s) should be selected (or combined) according to the requirements of project goals and the stage of design. Building on these studies, applications of lighting simulation were identified and compiled in relation to different aspects, including performance metrics, stages of design, optimization, model integration, BIM, and parametric modeling. To obtain first-hand information about lighting designers’ experience, an online survey was conducted in Sweden (Paper 2). The results showed that lighting simulation programs were widely (90%) used in Sweden for analysis and/or rendering purposes. The majority of lighting designers considered both daylight and artificial light in their design. Factors such as ease-of use, simulation time and training had more weight than accuracy and the diversity of metrics in practitioner’s eyes. Surrogate modeling was identified as a solution for speeding up simulation time, which would also enable exploration of design solution space especially in the early design stage.

Master of Science / Department of Architectural Engineering and Construction Science / Fred L. Hasler / The Internet of Things (IoT) is rapidly growing and is starting to be incorporated into commercial buildings. One of the ways that the IoT is being used in buildings is connected lighting, also referred to as smart lighting. Connected lighting allows for communication between the lighting system, people, the environment, and other devices. This paper will focus on connected lighting and its effect on lighting controls and design. The IoT is expected to see substantial growth in the next few years and the growth of connected devices will have a huge impact on the lighting industry as connected lighting systems will be installed in more commercial buildings. The shift to solid state lighting (SSL) in recent years has brought the transition from conventional lighting controls to connected lighting controls. For this shift to be successful, issues with interoperability, security and reliability will need to be overcome. Connected lighting systems on the market are using both wired and wireless technologies. Power over Ethernet (PoE) and wireless technologies such as ZigBee and Bluetooth Smart are currently being incorporated into connected lighting systems. The introduction of these technologies is changing the way that lighting control systems are designed and installed. Products such as fixture-integrated sensors and wireless devices are also being used in connected lighting systems. These products, along with the wired and wireless technologies, are changing lighting control system configurations. Lighting design will also be affected by connected lighting systems. New features including color-tunability and indoor positioning will be used to enhance the lighting system and improve occupant health. Also, energy code compliance will be easier since connected lighting controls will be mostly software-based and can be reprogrammed. Connected lighting systems will be integrated into other building systems such as heating, ventilating, and air conditioning systems or security systems and will also be used in a variety of applications. Connected lighting systems will greatly affect both lighting controls and design of lighting control systems. This paper introduces connected lighting and is intended for those who are not familiar with its design, applications, and implementation.

Objects intended as elements in interior spaces generally do a great job of meeting the standard criteria of form and function, but they can do more. By becoming something other than what they normally are, common elements can change a viewer's response to the space itself. This subtle but unexpected expression by an object impacts the viewer on many levels, heightening awareness and changing the viewer's cognitive interpretation of the space itself. This document examines the activation of space through objects capable of responding to a viewer's presence, using as a focus a light fixture that uses motion sensors to trigger sequential lighting responses in different locations, which move from low to high activity states. This object and its changing states are designed to engage viewers and provoke interaction. Such a reaction fundamentally reshapes the space the light fixture inhabits by actively transforming it into a playfully experiential environment.

This thesis presents the evaluation, research, and written documentation of the process in the lighting design of Lysistrata: A Woman's Translation. Chapter One contains two parts. The first is in-depth research specific to the production as well as an analysis of the script. The second part is the Statement of Goals, Methodology and Procedures. Chapter Two presents the design process during the production and the implementation of the design processes. Chapter Three, the final chapter, discusses and examines the responses and includes a self-evaluation of the production. The appendices of this document contain research images, hand renderings and computer renderings, drafting, and production photographs.

Master of Landscape Architecture / Department of Landscape Architecture/Regional & Community Planning / Laurence A. Clement / The City of Manhattan, Kansas (“the City”) is planning a landscape improvement project for a 0.3-mile portion of one of its non-vehicular rights-of-way (“the Trail”). The focus of the City’s project is to resolve safety issues that have arisen due to a lack of nighttime lighting. While the City’s plan is to implement lighting, this plan would not comprehensively address the Trail users’ and stakeholders’ needs. This study asks, “What design alternatives can be generated to address lighting, safety, and other user and stakeholder concerns for the Trail?” This study employs a literature review, a site inventory and analysis, and a pair of surveys to facilitate the synthesis of a series of design alternatives. The literature review analyzes urban design theory and environmental psychology research to develop a series of design considerations. The site inventory and analysis documents the Trail’s existing conditions through photography, drafting, inventory, observation, and dérive. User and stakeholder surveys were also conducted to gauge existing usage patterns and perceptions of the Trail. From the findings of these methods, a series of environmental designs were developed which respond to users’ experience and stakeholders’ needs as they use and consider the Trail. These designs range on a spectrum of intervention from “minimal” to “high.” It was determined that there are two key regions of the Trail which need immediate attention: an area of thick overgrowth (“the Tunnel”) and an area of ponding and erosion (“the Low Water Crossing”). Additional design considerations were also revealed and addressed by the design alternatives. These designs where then presented to a group of stakeholders who determined that rather than implementing one intervention level, a phasing strategy to implement all intervention levels would be of particular interest. This study also reveals the potential need for a future study about the Trail which would allow stakeholders to analyze the effects of specific, constructed design interventions.