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.

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.

Thesis (Ph.D. (Physics)) -- University of Limpopo, 2018 / Beyond conventional intercalation chemistry, reaction of lithium with sulphur and oxygen (so-called “Li-air” batteries) have the potential to provide 2 to 5 times the energy density of current Li-ion battery systems. However, both Li/S and Li/O2 systems suffer from cycling performance issues that impede their commercial applications: Li/O2 cycling is limited by electrolyte decomposition and large cell polarization; Li/S suffers from the low conductivity of S and the solubility of intermediary polysulfide species during cycling. It has been reported that Se and mixed SexSy represent an attractive new class of cathode materials with promising electrochemical performance in reactions with both Li and Na ions. Notably, unlike existing Li/S batteries that only operate at high temperature, these new Se and Li/SexSy electrodes are capable of room temperature cycling. Initially, stabilities of insoluble discharge products of oxygen and sulphur in the Li-S and Li-O2 batteries were investigated using density functional theory within the generalized gradient approximation, and these were deduced from their structural, electronic and mechanical properties. The structural properties are well reproduced and agree to within 3% with the available experimental data. Li2S, Li2O and Li2O2 and Li2S2 structures all have negative heats of formations indicating that they are stable, however, that of Li2S2 structure was relatively high compared to others. Calculated phonon dispersion and elastic properties revealed that Li2O, Li2S and Li2O2 structures are mechanically stable and great agreement with experimental work. The Li2S2 structure displayed soft modes associated mainly with sulphur atoms vibrations in the a-b plane, hence it is not mechanically stable in agreement with the negative C13. Stable Li2S2 polymorphs were extracted from soft modes of calculated phonon dispersions along the gamma direction in the Brillioun zone. Temperature is known to have a significant impact on the performance, safety, and cycle lifetime of lithium-ion batteries (LiB). In order to explore properties of discharge products associated with Li/S and Li/Se batteries at different temperatures, molecular dynamics and cluster expansion methods were employed. The former was achieved by firstly deriving empirical interatomic potentials of Li2S and Li2Se which were fitted to experimental and DFT calculated data. The potentials were validated against available experimental and calculated structure, elastic properties and phonon spectra. In addition, complex high temperature transformations and melting of Li2S and Li2Se were reproduced, as deduced from molecular dynamics simulations. Both Li2S and Li2Se were found to withstand high temperatures, up to 1250K each which is a desirable in future advanced battery technologies. Furthermore, cluster expansion and Monte-Carlo simulations were employed to determine phase changes and high temperature properties of mixed Li2S-Se. The former generated 42 new stable multi-component Li2S-Se structures and ranked metastable structures by enthalpy of formation. Monte Carlo simulations produced thermodynamic properties of Li2S-Se system for the entire range of Se concentrations obtained from cluster expansion and it demonstrated that Li2S-Se is a phase separating system at 0K but changes to mixed system at approximately 350K which was confirmed by constructed by phase diagram of Li2S-Se system. It was finally demonstrated that molecular dynamics and Monte Carlo simulations techniques yield consistent results on phase separation and high temperature behavior of Li2S-Se at 50% of sulphur and selenium.

Scenic and Lighting Design

Varför ser både din kropp och tröjan som du hittade i butiken annorlunda ut iprovrummet? Belysning i provrum är ett återkommande problem.Belysningsbranschens blomstrande framfart borde ha löst denna angelägenhet förflera år sedan. I denna studie utreds problematiken ur tre olika intressenterssynvinklar för att kunna redogöra för rekommendationer som behandlarbelysningen i provrum. Följande frågeställningar formulerades:1. Vilka kriterier definierar god belysning i provrum?2. Vilken funktion har belysningen i provrum sett ur butikspersonalens ochkundernas perspektiv?3. Anser kunden att upplevelsen av sig själv i provrummet påverkar köpbeslutet?Inledningsvis genomfördes en förstudie med observation av befintliga provrumoch intervjuer med belysningsplanerare. Efter det intervjuades butikschefer frånfem olika butiker i Jönköping. Studiens två metoder, enkätundersökning ochljusmätning, användes på butikerna. 70 enkätsvar ställdes i relation tillprovrummens fysiska förutsättningar som dokumenterats genom ljusmätningar iprovrummen.Resultatet visar att korrekt visuell färgupplevelse följt av rättvis bild av kroppenoch ansiktet är belysningens viktigaste funktioner i provrum. Överraskandeförekommer det provrum där belysningen medvetet gjorts bristfällig för attmanipulera kunden till att gå ur provrummet. Detta ger butikspersonalen ökadechanser att skapa en relation med kunden för att påverka köpbeslutet, ettförhållningssätt vi inte skulle vilja rekommendera.God provrumsbelysning karakteriseras av belysningstekniska val som välharmonierar med provrummets övriga utformning för att ge en rättvis bild avbåde färger, detaljer och kroppens form. Belysningen ska dessutom samspela medbutikens övriga belysning.I enkätundersökningen frågade vi kunderna i hur hög grad fyra olika faktorerpåverkat deras beslut att köpa eller inte köpa klädesplagget som provats. Denfaktor som mest påverkar kundens beslut till köp är kundservicen (vid köp) ochpriset (vid uteblivet köp), efter dessa kommer upplevelsen av sig själv iprovrummet (vid båda). Detta resultat stämmer väl överens med hur bådebelysningsplanerare och butikspersonal resonerar kring frågan vad som avgör omkunden köper eller inte.Vår slutsats är att belysningen i provrum ska ge en rättvis bild av kropp, färg ochkläder. Rekommendationer för provrum skulle underlätta planering, men någonoptimal lösning går inte att redogöra för då alla människor är olika ljuskänsliga ochhar skilda behov i provrummet. Upplevelsen av provrummet går att koppla tillköpbeslutet. / Why do both your body and the shirt look different in the fitting room comparedto how they did in the store area? The continuing problem with lighting in fittingrooms is a fact. The lighting industry should have resolved this matter severalyears ago through the development process. This study investigates the problemfrom the viewpoint of three different stakeholders in order to presentrecommendations for lighting in fitting room. The following concerns are raised:1. What criteria’s defines good lighting in the fitting room?2. Seen from the store staff and customers perspective, what function does lightingin the fitting room have?3. Does the customers’ perception of themselves in the fitting room affect theirdecision to buy?Initially there was a pilot study with an observation of existing fitting rooms, andinterviews with lighting designers. After these, additional interviews with storemanager from five different stores in Jönköping were undertaken. Our two studymethods, survey and measuring of light, were used in these stores. The 70 surveyresponses were compared directly with the fitting rooms physical attributes thatwere documented by light measurements in the fitting rooms.The most important features with regard to lighting in fitting rooms are anaccurate visual color experience and a fair image of the body and face.Surprisingly, there are fitting rooms where lighting is deliberately weakened inorder to manipulate the customer to exit the fitting room. This will allow the storestaff to increase the chances of creating a relationship with the customer toinfluence purchasing decisions; an approach we would not like to recommend.Good lighting in fitting rooms is characterized by technical lighting choices thatharmonize with other features in the fitting room to create an unbiased image ofcolors, details and body shape. The lighting must also interact with all otherlighting in the store.In the survey we asked customers to what extent the four different factors listedabove influenced their decision of buying the tested garment. The factor that mostaffects the customer decision of purchase is the customer service (purchase doesoccur) and the price (purchase does not occur), thereafter the experience ofthemselves in the fitting rooms (for both). This result is congruent with well withlighting designers and store staff’s reasoning about what affects the customerspurchasing decision.Our conclusion is that the lighting in fitting rooms should give a fair picture ofbody, color and clothing. Recommendations for lighting in the fitting room wouldease the planning, but an optimal solution cannot account for the reality that allpeople have different sensitivity to light and diverse needs in the fitting rooms.The experience of the fitting room and specifically the lighting within can belinked to the decision of purchases.

The background and motivation of this study are based on: (1) Energy saving and carbon emission reduction are the rising issues gaining more awareness and efforts worldwide. (2) Taiwan plans to build ¡§low-carbon cities¡¨ in order to implement the policy of greenhouse gas reduction. (3) The most direct and practical way to reduce carbon emissions is by saving energy. (4) Everyone has to use illumination sources. (5) ¡§Electro-Magnetic Induction Lamps¡¨ is a useful tool to achieve the goal of energy saving and carbon emission reduction. Thus the topic of this study is ¡§The Effectiveness Analysis and Strategy of Energy-efficient Lighting in Developing a Low Carbon City ¡V A Case on Electro-Magnetic Induction Lamps¡¨. The objectives of this study are: 1. To analyze the characteristics of ¡§Electro-Magnetic Induction Lamps¡¨ and their conformity with local and overseas energy-efficient lighting policies. 2. To analyze the effectiveness of lighting economics of the case companies before and after their adoption of ¡§Electro-Magnetic Induction Lamps¡¨. 3. To explore the possible obstacles and their solutions for lighting industry development of ¡§Electro-Magnetic Induction Lamps¡¨ in the public sectors¡¦ strategies to develop low-carbon cities in Taiwan. The main issues of this study are about energy-efficient lighting policies and the economical effectiveness of ¡§Electro-Magnetic Induction Lamps¡¨, which belong to policy research on energy-saving equipment and the lighting industry. Therefore three research methods: Literature Review, Case Study, and In-depth Interview were adopted to collect, compare, and analyze the data. The conclusions of this study are: 1. The characteristics of ¡§Electro-Magnetic Induction Lamps¡¨ are in conformance with energy-efficient lighting policies in Taiwan. 2. To provide the analysis result of the case companies¡¦ economic benefits after its adoption of ¡§Electro-Magnetic Induction Lamps¡¨. 3. To indicate the possible Dilemma of the lighting industry development of ¡§Electro-Magnetic Induction Lamps¡¨ and the energy-efficient lighting policies for the strategies to develop low-carbon cities in Taiwan. According to above research outcomes, three suggestions have been further proposed: 1. Users must change their concepts and habits of lighting usage in order to cultivate good energy-saving habits. 2. Users must select appropriate illumination sources according to their needs in order to achieve most effectiveness of lighting economics. 3. According to the needs of appropriate illumination sources, the government should promote and subsidize the development and use of ¡§Electro-Magnetic Induction Lamps¡¨.

Problems in automated video surveillance analysis caused by illumination changes are explored, and solutions are presented. Controlled experiments are first conducted to measure the responses of color targets to changes in lighting intensity and spectrum. Surfaces of dissimilar color are found to respond significantly differently. Illumination compensation model error is reduced by 70% to 80% by individually optimizing model parameters for each distinct color region, and applying a model tuned for one region to a chromatically different region increases error by a factor of 15. A background model--called BigBackground--is presented to extract large, stable, chromatically self-similar background features by identifying the dominant colors in a scene. The stability and chromatic diversity of these features make them useful reference points for quantifying illumination changes. The model is observed to cover as much as 90% of a scene, and pixels belonging to the model are 20% more stable on average than non-member pixels. Several illumination compensation techniques are developed to exploit BigBackground, and are compared with several compensation techniques from the literature. Techniques are compared in terms of foreground / background classification, and are applied to an object tracking pipeline with kinematic and appearance-based correspondence mechanisms. Compared with other techniques, BigBackground-based techniques improve foreground classification by 25% to 43%, improve tracking accuracy by an average of 20%, and better preserve object appearance for appearance-based trackers. All algorithms are implemented in C or C++ to support the consideration of runtime performance. In terms of execution speed, the BigBackground-based illumination compensation technique is measured to run on par with the simplest compensation technique used for comparison, and consistently achieves twice the frame rate of the two next-fastest techniques.

The purpose of this handbook is twofold. First, it is to be used as a guide for maintenance personnel when they have to deal with the lighting system. Whi 1 e the 1 i ghti ng 1 oads are typical of those in any large building, the control functions and equipment operation require some specific information for proper performance. Second, it can be used by the person in charge of scheduling to gain a greater understanding of how the system works. Although a detailed understanding isn't necessary, it is helpful to know what is out there and why it does what it is supposed to do.The reason for the development of this handbook is that with all of the literature produced by the manufacturer there was no single source, or starting point, that explained the whole package. There is a great deal of information in each of the various publications and with this handbook one should easily be able to utilize it. In order to use this book most effectively one should have the manufacturer's documents on hand for reference as they are referred to frequently. In addition the flow charts enhance one's ability "to know where you are” when using the terminal for data entry. / Department of Architecture

This thesis is an exploration of how artificial lights are used to create atmospheres in a space, andhow they enhance an individual’s well-being. The focus here is placed on students in Sweden,specifically those who live in one-room apartments. Students typically do not invest much intheir lights yet being in Scandinavia, artificial lighting is used to compensate for the lack ofdaylight hours. As such, the lights they have will impact how they go about their day.A light is designed using product design methods to respond to the research question: “to whatextent can a versatile light source alter the atmosphere of a student’s space to enhance their wellbeing?”As the research is situated in Sweden, aspects of the Scandinavian lighting culture will beexamined and implemented in the design. The student’s well-being will be assessed through thetheory of subjective well-being, specifically how it can be enhanced through perceived control.The light design also aims to be socially sustainable, focusing on how individuals’ well-being canbe improved through lighting. The design also attempts to tackle inequalities by showing it canbe made of cheap and accessible materials, as well as being professionally manufactured. Thecheaper version is to ensure students with lower incomes can access the same quality of light asothers, where the light will create a similar atmosphere. Finally, the concept of social lighting isdefined in the context of this thesis. It concentrates on designing the light based on interviewswith students and emphasising the relationship between a student and their apartment.Through interviews and photos, a design brief was formed to understand what type of lightstudents use in their apartment and what they were looking for. After a series of iterations, afinal design was obtained and created. One version was made professionally in metal by BelidLighting. Another was made out of thick card and paper clips, materials easily accessible tostudents. The models were tested by students in their home for two nights, after which aninterview took place to obtain impressions and feedback on the design.It was concluded that a versatile light source altered the atmosphere of a student space toenhance their well-being to a certain extent. This was due to people’s existing relationship withlights, where they don’t generally interact beyond switching them on and off. Nonetheless,participants enjoyed making their own lamp, and found the lamp design quite unique. Thishelped maintain their subjective well-being.

La thèse propose d'appréhender les débuts de l’éclairage public avant l’invention du gaz et de l’électricité, comme un objet d'histoire urbaine totale. Elle analyse le processus d'introduction, de diffusion et d’appropriation de l'éclairage public à l’échelle du royaume de France entre 1697 – date à laquelle les lanternes publiques sont imposées par la monarchie dans les principales villes du royaume de France – et la période révolutionnaire. Si la mesure est d’abord contestée par les municipalités et une partie des habitants, l’éclairage devient à partir des années 1770 une marque d'urbanité et un instrument de contrôle. À partir de l'abondante documentation des archives municipales, départementales et nationales, la thèse étudie le passage de l’ « illumination » à l’ « éclairage public ». Il s’agit de saisir le cheminement du processus décisionnel entre le pouvoir central, provincial et local, ainsi que la circulation des savoirs et des expériences en matière d’éclairage. L’intérêt grandissant des populations urbaines pour ce nouvel objet technique permet son amélioration puis l’adoption du réverbère qui remplace la lanterne à chandelle à l’orée de la Révolution. La thèse analyse également les conditions économiques, financières et sociales du développement de l’éclairage, à travers la figure de l’entrepreneur, de l’allumeur et le recours aux experts. L’influence de la compagnie Tourtille Sangrain joue un rôle déterminant dans la diffusion de l’éclairage urbain durant le dernier tiers du XVIIIe siècle. Il s'agit enfin d'interroger la réception de l’innovation par les citadins et la "révolution culturelle" (D. Roche) induite dans les usages nocturnes de la ville. / The thesis proposes to understand the beginnings of street lighting before the invention of gas and electricity, as an object of total urban history. It analyses the process of introducing, spreading and appropriating street lighting throughout the Kingdom of France between 1697 - when public lanterns were imposed by the monarchy in the main cities of the Kingdom of France - and the revolutionary period. Although the measure was first contested by the municipalities and some of the inhabitants, from the 1770s onwards it became a mark of urbanity and an instrument of control. Based on the abundant documentation from municipal, departmental and national archives, the thesis studies the transition from "illumination" to "public lighting". The aim is to understand the decision-making process between central, provincial and local authorities, as well as the circulation of knowledge and experience in the field of lighting. The growing interest of urban populations in this new technical object led to its improvement and then to the adoption of the « réverbère » that replaced the candlelight lantern at the beginning of the Revolution. The thesis also analyses the economic, financial and social conditions of lighting development, through the figure of the entrepreneur, the street lighter and the expert. The influence of the Tourtille Sangrain company played a decisive role in the spread of urban lighting during the last third of the 18th century. Finally, it is a question of questioning the reception of innovation by city dwellers and the "cultural revolution" (D. Roche) induced in the city's night-time uses.