Scenic and Lighting Design

A visual investigation into the lighting, scenic and projection design work of Lucas P. Ingram during his training at the University of Iowa from 2013 – 2016.

Far from being simply a necessary appliance to extend our day, artificial light has a great influence on human behaviour and wellbeing, perception of the surroundings and comfort. The energy needed for lighting is also a significant impact on our natural resources. For these two broad reasons lighting systems that improve the human visual and perceptual experience and reduce energy use are of widespread value. This work covers research into the application of LED technology as the next generation of mainstream lighting. It looks at the reasons why this technology is set to become the dominant way in which we light our lives, and the technical hurdles that are slowing this shift in lighting. It also presents the development, testing and prototyping of such an LED lighting product for use in the architectural market. This niche application is where LED lighting is currently most suited, due to the compactness, colour adjustability and lower colour rendering required. Establishing the technology here will help to gain consumer appreciation and acceptance of this beneficial and useful new paradigm in lighting. The design incorporates a shape that is pleasing to the eye with a simple oval profile. It was designed to be subtle and compact, blending into the ceiling as cleanly as possible. Practical testing on the finished prototype showed it to produce a wide range of colours and colour temperatures, while maintaining a safe LED temperature. The simplicity also makes the unit competitive in terms of cost.

Submitted by Glauber Assunção Moreira (glauber.a.moreira@gmail.com) on 2018-09-06T14:09:14Z No. of bitstreams: 1 PDF Final.pdf: 28443878 bytes, checksum: 54aa452035b930d127bdd66911f48a0e (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2018-09-11T13:20:42Z (GMT) No. of bitstreams: 1 PDF Final.pdf: 28443878 bytes, checksum: 54aa452035b930d127bdd66911f48a0e (MD5) / Made available in DSpace on 2018-09-11T13:20:42Z (GMT). No. of bitstreams: 1 PDF Final.pdf: 28443878 bytes, checksum: 54aa452035b930d127bdd66911f48a0e (MD5) / O objetivo desta tese é investigar a práxis cênica como problema estético-visual, cuja origem se encontra, não apenas nas primeiras teorizações do teatro da Grécia Clássica, mas também nos estágios iniciais do drama clássico, uma vez que ambas as abordagens observam, analisam e operam com a posição artística da luz no contexto do espetáculo teatral. A presente tese compreende a práxis cênica como uma obra compósita, cuja efetivação geralmente congrega o trabalho de muitos artistas, i. e., mesmo quando nela se observa a acentuação de um ou outro aspecto, sua natureza se afirma na interação dinâmica entre os diversos aspectos e agentes. Tais elementos interagem em movimentos irregulares, transversalmente articulados, entrelaçando-se ao longo do processo de criação. As investigações que constituíram a tese incorporam os conceitos de imagem cênica e de visualidade, aplicando a análise bibliográfico-documental como estratégia para identificar elementos instigantes para a discussão desses conceitos. A abordagem refere-se a um conjunto de documentos, desde o teatro grego clássico até a contemporaneidade, e descarta o ordenamento cronológico, pois leva em conta as específicas relações entre os textos e a problematização que guia a tese. Procurando analisar a amplitude das interações entre a luz e a cena, o presente trabalho é sustentado por duas convicções: em primeiro lugar, as contribuições da luz estão presentes em momentos muito anteriores à “montagem da luz” de um espetáculo; depois, do ponto de vista histórico, é preciso constatar a presença da luz no teatro, em momentos muito anteriores ao Renascimento italiano, no século XVI, quando apareceram os primeiros teatros cobertos que necessitavam da luz artificial para a realização de espetáculos. Com a leitura de textos e documentos do âmbito particular do tema, a tese indica futuras intervenções, tanto na abordagem teórica da cena em si, quanto no seu planejamento visual. / The aim of the dissertation is to investigate the scenic praxis as an aesthetic-visual problem, whose origin lies not only in the first theorizations of the theater of Classical Greece, but also in the early stages of classical drama, since both approaches observe, analyze and work the position of the light in the context of theatrical event. This dissertation understands scenic praxis as a composite work whose accomplishment usually gathers the work of many artists, i. e., even when it is observed the emphasizing of one or other aspect, its nature asserts itself in the dynamic interaction between the various aspects and agents. These elements interact in irregular movements, articulated in a transverse way, interweaving the process of creation. The investigations which formed the dissertation embody the concept of scenic image and “visualty” applying the bibliographic-documentary analysis as a strategy to identify provocative elements to its discussion. The approach include a set of documents from the classical Greek drama to the contemporary times, and discard the chronological order because it took into account specific relationships between the texts and the questioning that guides the thesis. Seeking to analyze the extent of the interactions between light and scene, this work is supported by two beliefs: first, the contributions of light are present in the spectacular events in much earlier times then the moment of the "lighting assembly" of a show; second, from the historical point of view, it is necessary to observe the presence of light long before the 16th century Italian Renaissance, when the need of artificial light for holding shows appeared in the first covered theaters. With the reading of texts and documents on the scope of the particular theme, the thesis indicates future interventions, both in the theoretical approach of the scene itself, and in planning for the theatre lighting design.

abstract: The study of lighting design has important implications for consumer behavior and is an important aspect of consideration for the retail industry. In today's global economy consumers can come from a number of cultural backgrounds. It is important to understand various cultures' perceptions of lighting design in order for retailers to better understand how to use lighting as a benefit to provide consumers with a desirable shopping experience. This thesis provides insight into the effects of ambient lighting on product perception among Americans and Middle Easterners. Both cultural groups' possess significant purchasing power in the worldwide market place. This research will allow marketers, designers and consumers a better understanding of how culture may play a role in consumer perceptions and behavior Results of this study are based on data gathered from 164 surveys from individuals of American and Middle Eastern heritage. Follow up interviews were also conducted to examine the nuances of product perception and potential differences across cultures. This study, using qualitative and quantitative methods, was executed using a Sequential Explanatory Strategy. Survey data were analyzed to uncover significant correlations and relationships using measures of descriptive analysis, analysis of variance (ANOVA), and regression analysis. Interviews were analyzed using theme-based coding and reported in narrative form. The results suggest that lighting does in fact have an impact on product perception, however despite minor differences, this perception does not vary much between individuals from American and Middle Eastern cultures. It was found that lighting could affect price and quality perception with reference to store-image and store atmospherics. Additionally, lighting has a higher impact on subjective impressions of product (such as Freshness, Pleasantness, and Attractiveness), more than Price and Quality perceptions. This study suggests that particular lighting characteristics could be responsible for differences in product perception between these two cultures. This is important to note for lighting designers and marketers to create retail atmospheres that are preferable to both cultures. / Dissertation/Thesis / M.S.D. Design 2013

Graduate stage design portfolio of Jessica Fialko

A discussion of the abstract approach for the lighting design of the Theater Department’s Fall 2010 production of Federico García Lorca’s The House of Bernarda Alba through the use of time of day and “clean and dirty” light.

Each city has a unique image and special things to offer to citizens and visitors. It is this unique image that differentiate between the different cities. The uniqueness of the image of the city is derived from the urban identity of the city and its public spaces. The purpose of this thesis is to define what are the factors that contribute in defining space identity which were found to be the physical stationary structure, the users and their interaction with the space which result in creating memories and experience and the history of the space. Based on this definition a connection is made to define how can urban lighting contribute in fulfilling those factors This connection is made through the study of urban lighting techniques, the different approaches of lighting masterplan for three cities and users perception of the space aiming to reach a final goal of a conceptual lighting proposal for Al-Moez Ldin Allah street which is part of Islamic Cairo in Egypt. Al-Moez street is considered a landmark and a touristic space in Cairo because it is rich with heritage landmarks and amazing medieval architecture. The street is not only considered a touristic space, but it is also used by locals and a lot of Egyptians already are emotionally attached to the space. Finally, a discussion part is following that aim to reflect on the steps taken to approach the goal of this thesis and evaluate the lighting proposal based on the vision of this thesis, and it shows that keeping users as the first priority in the design process will result in the most efficient lighting proposal.

Previous research has studied the use of Building Performance Simulations (BPS) tools withBuilding Information Modeling (BIM). BPS can be used to visualize and evaluate the designof buildings. Virtual Reality (VR) can be used as a BPS tool for designing indoor lighting.The problem is that previous research still has difficulties with data interoperability. That isthe integration of VR with BIM. Many studies suggest using the file format IFC to mitigatethis problem.The aim of this study is to investigate how to increase data interoperability by using a fileformat IFC. A prototype system will be developed to test this. The research question is if openBIM formats can improve the quality of design solutions? The study will try to answer howVR can be integrated with BIM and how VR can be used for indoor lighting design.The result from this thesis is in part a prototype system called FooBar. FooBar shows how VRcan be integrated with BIM. However, the file format IFC was not used throughout the wholedesign process. Instead, IFC is only used at the beginning and the end of the process. Thisstudy shows how VR can be used as an alternative BPS tool. Users can manipulate lights inthe building model. These changes are then updated in the original BIM model.This means that VR can be used to improve the quality of design solutions. In other words,FooBar can help to cope with multidisciplinary design processes. Users can immersethemselves into the virtual environment and see different design alternatives for themselves.Different design alternatives can easily be rendered in VR. With a system like FooBar, userscan easily define, propose, and analyze different design ideas to reach design goals. / Tidigare forskning har studerat hur simuleringsverktyg (Building Performance Simulations,BPS) kan användas med byggnadsinformationsmodellering (Building Information Modeling,BIM).Simuleringsverktyg kan dels användas för att visualisera design och användas somdesignutvärdering. Virtual Reality (VR), eller virtuell verklighet, kan användas som ettsimuleringsverktyg för design av inomhusbelysning. Problemet är att tidigare forskning harproblem med datakompatibilitet, d.v.s. integrationen av VR med BIM. Många studier föreslåratt filformatet IFC används för att lösa detta problem.Syftet med denna studie är att undersöka hur man ökar datakompatibiliteten genom attanvända ett IFC. Ett prototypsystem kommer att utvecklas för att testa detta. Forskningsfråganhandlar om huruvida öppna BIM-format kan förbättra kvaliteten på designlösningarna.Studien ska även försöka svara på hur VR kan integreras med BIM och hur VR kan användasför inomhusbelysningsdesign.Resultatet av detta arbete är en del av ett prototypsystem kallat FooBar. FooBar visar hur VRkan integreras med BIM. Filformatet IFC användes emellertid inte under heladesignprocessen. Istället används IFC endast i början och slutet av processen. Det andraresultatet är att denna studie visar hur VR kan användas som ett alternativ till andrasimuleringsverktyg. Med FooBar kan användare flytta, rotera och skala om ljus ibyggnadsmodellen. Dessa ändringar uppdateras sedan i den ursprungliga BIM-modellen.Det betyder att VR kan användas för att förbättra kvaliteten på designlösningarna. FooBar kanmed andra ord bidra till att underlätta multidisciplinära designprocesser. Användare kan självakliva in i den virtuella miljön (i VR) och se olika designalternativ framför sig. Således kanolika designalternativ enkelt göras i VR. Med ett system som FooBar kan användarna enkeltdefiniera, föreslå och analysera olika designidéer för att nå de designmål som finns i projektet.

This paper explores interaction with lighting through a tangible user interface (TUI). In a TUI the physical object and space around it are part of the interface. A subset of tangible interaction called spatial interaction is the main focus of this paper. Spatial interaction refers to translation, rotation or location of objects or people within a space. The aim of this paper is to explore the relation between spatial inputs and lighting outputs based on different design properties. A user test is set up to explore the effect that design properties of a TUI have on the lighting output that participants map to spatial inputs. The results of the conducted user test indicate that communicating affordances to the user is an important factor when designing couplings between spatial inputs and lighting outputs. The results further show that the shape of the interface plays a central role in communicating those affordances and that the overlap of input and output space of the interface improves the clarity of the coupling. / Den här studien utforskar gripbar (tangible) interaktionsdesign med fokus på ljus och belysning. Vid användning av ett gripbart (tangible) gränssnitt används den fysiska miljön som gränssnitt. Detta skiljer sig till stor del från interaktion med ett grafiskt användargränssnitt, där alla interaktioner sker och begränsas av en skärms egenskaper. Denna studie fokuserar på rumslig (spatial) interaktionsdesign, vilket är en del av gripbar interaktionsdesign. Rumslig interaktion refererar till översättning, rotation eller plats av objekt eller människor i ett utrymme. Ett användartest har utförts för att testa vad för effekt olika rumsliga indata och designegenskaper har på förväntad utdata för ljus och belysning. Resultatet från användartestet visar att starka affordances och begränsningar, tillsammans med överlappningen av rumslig indata och utdata för ljus och belysning, är de viktigaste egenskaperna för att designa tydliga övergångar.