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CONTEXTUALIZING
LIGHT
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CULTURAL l immerse
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CONTEXTUALIZING LIGHT WITH CULTURE
LIGHTING DESIGN SOLUTIONS
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INSTALLATION ART Monsoon Club Nets Go at Seoul Plaza Lumen Staten Island MUSEUMS & GALLERIES Bihar Museum D Gallery Indian Music Experience The Sugar And Suffering Series The Lumiere Series
IN A CHANGING WORLD
TA B L E O F C O NTE NTS
ACKNOWLEDGEMENTS
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FOREWORD
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INTRODUCTION
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THE PARADIGM SHIFT & OUR ZEITGEIST
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PERSPECTIVES ON LIGHT
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WHEN DID DARKNESS BECOME BAD?
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THE COLLABORATIVE PROCESS
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THE WORLD OF ILLUSION VS ALLUSION
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PUBLIC LANDMARKS Bushwick Inlet Park Sultan Qaboos Youth Complex Ismail Building Ark of Return National War Memorial Mumbai University Convocation Hall Chathrapathi Shivaji Maharaj Memorial
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HOUSES OF WORSHIP Golden Temple Church of Assumption First Presbyterian Church
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INFRASTRUCTURE l grow
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OUR CIVIC INTENT
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130 138 140 144 148
TRANSPORTATION GWB Upper Roadway Holland Tunnel Rapid MetroRail Gurgaon Ltd. Bayonne Bridge Doha Bridge Sheikh Rashid Bin Saeed Crossing Dubai 5th Crossing Bridge Green Line Station
THE PARAMETRIC APPROACH MASTERPLANNING Brigade Gateway Complex G9 Masterplan Phase 2 Masterplan Garment District NYC (Competition) - Finalist
CREATING A SENSE OF PLACE
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RETAIL l s h op
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RESIDENTIAL l liv e
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PERFECT ACCENT
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THE ACT OF DWELLING
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PRIVATE RESIDENCES Mandala House Amritsar Residence
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RESIDENTIAL TOWERS 507W 28th Street Vivarea OBW Clubhouse
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MALLS Peak Tower Esplanade One Orion Mall at Brigade Gateway Cyber Hub Floreal Tower
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SHOPS Findings NY Royal Enfield
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HEALTHCARE l H ea rt
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THE LATENT RELATIONSHIP BETWEEN LIGHT AND HEALTH
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A POSITION PAPER ON HEALTHY LIGHTING Road Map for Healthy Lighting Children’s Hospital Medicity Medanta Soularium
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BIOPHILIA
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A HISTORICAL PERSPECTIVE ON LIGHT FOR HEALING
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The Light And Healing Series
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TECHNICAL PATENTS Ahimsa Light Horizon Light Z-Clip
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HOSPITALITY l r e l a x
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CREATING A DESTINATION
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HOTELS Fairmont Jaipur Alila Diwa Resort Sheraton Park Hotel
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F&B South City Prime Ludo Lounge Tote Blue Frog
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COMMERCIAL I work
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BUILDING ENVY & THE ROLE OF LIGHTING
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COMMERCIAL & CORPORATE ENVIRONMENTS Singapore Chancery 575 Lexington U Bora Tower World Trade Center At Brigade Gateway Godrej One First International Financial Center Indiabulls Centre Godrej BKC SSKC KAFD Parcel 4.11
play
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FIXTURE DESIGN l
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IMPACT OF CLIMATE ON LIGHT
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BUILT FIXTURES
394 396
COMPETITIONS Light Chords - Flos Elle Decor Competition (First Place) Sheikh Rashid Bin Saeed Crossing
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WHERE ARE WE GOING? “They don’t make it like that anymore!”
ABOUT 404
Abhay Wadhwa
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The Team at AWA
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Awards
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Photography Credits
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Press
TA B L E O F C O NTE NTS
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10 C O N T E X TUA LIZING LIG HT
THE PARADIGM SHIFT & OUR ZEITGEIST “Our interactions with light are changing due to changing lighting (and controls) technologies, new choice of materials, a growing awareness of the latent properties of light for health and wellness, and new legislative policies.”
THE PARADIGM SHIFT & OUR ZEITGEIST The profession of lighting design has morphed over the past 20 to 30 years to become almost unrecognizable for many practitioners. Our journey over the past 2 decades has seen some exciting times — architecturally, economically, and with new lighting technology inundating our professional existence. We, at AWA, have spent a great deal of time researching light design in all its forms. As a professional firm in the industry, we attempt to embed our beliefs and theories into our work and hope that our efforts stand as justification for our arguments and critique of the zeitgeist of light. In the subsequent chapters, we have selected some of our works that we believe best display our efforts in order to manifest our thoughts surrounding lighting. Along with a detailed description of each project is a statement of how we believe that design meets the client’s needs, as well as how the design performs in accordance with our beliefs on lighting. We started speaking of this impending change in the early 2000s when we boldly stated at a conference that the way lighting design was being practiced would be extinct by 2020 and many of us would have to find new jobs or professions. No one was interested in the drastic change anticipated then, which challenged their comfort zones. Most of our deliverables were being replaced by software. As we get closer to 2020, all of these predictions are becoming stark realities for the lighting and design industries at large. Disruptive growth of the industry was bound to happen and the ever-present question for many of us is “How do we stay relevant?” What can we do as design professionals to still contribute to our zeitgeist? In order to contribute, we have to first understand what the zeitgeist is and then understand the changes the era is bringing and the new paradigms that are being created due to the changes.
“We define light as an overarching consideration of the visual sense as it is informed by our culture, climate, and materiality.”
Light exists in our zeitgeist as a medium by which we receive different forms of information, but it exists more explicitly through its capacity to help us to see. However, light possesses a broader contextualization. Light informs the mood and our attitudes toward both spaces and people. We seek to form a critique of the zeitgeist in this manner as we determine that there are not separate manifestations of light, but rather simply “light” and its forms. We critique this zeitgeist further by determining light as broader than its different forms or own interpretations of its capacity; we define light as an overarching consideration of the visual sense as it is informed by our culture, climate, and materiality. Like pixels, light is a physical embodiment. Pixels can be controlled and manipulated to form patterns, which we interpret as text or imagery, not merely through our conditioned response to familiar patterns but also through philosophical and theoretical perspectives. This is true of light as well. In understanding this, it is clear that the focus of the zeitgeist of light is of light as a thing, in whatever technological form it may be manifest. Our experience of the quotidian is informed by the senses; through our ability to see, hear, feel, taste, and touch. We live in a world dominated by aesthetic concerns and preferences as we seek to find comfort for our bodies and minds. How do we begin to determine our own capacities for change in order to adapt to our envi-
ronment? Here we arrive at a discussion about design and its ability to inform how we want to live. Design is not only a tool that we can use to manifest concepts and thoughts, but also one that allows us to sculpt our existence. Light is what forms our ability to see; its dispersions and levels determine how we interpret the content we see. Though opinions may vary, it is hard to argue that through our aesthetical concerns we do not perceive what we see to be of great value to us and our comfort. This is not to say that we do not value the aesthetics of sound in a beautiful opera; that of taste in a delicious meal; that of smell in a posy of fresh flowers, or that of touch in a warm caress, but we do, first, sense through sight. The power of our first visual impressions is extreme— it is said humans determine attraction in less than a second. How then are we to condition our sense of sight? To do that we must first not question what we see, but how we see. What we see is not the matter we form with our hands or the pixels we shape through our technology, but rather frequencies of light. When we generally speak of visual aesthetics we do not discuss methods of forming content, but how light affects our capacity to see. The emergence of the tiny, long-lasting, inexpensive LEDs is dramatically changing the lighting situations. Presently, it is predicted that Solid State Lighting (SSL) will comprise 75% of the global lighting market. Lack of standards for many components of the LED package and the reliability of the LED package will impact future growth. The wheel is almost coming full circle, turning away from mass manufacturing and toward individualized production. LED lighting systems will be affected by modularity, software, manufacturing processes, lamps, reflectors, finishes, and environmental factors. Previously, people relied more on natural light and on planning activities during times when it was available. In the last 100 years, as other areas of the world have found prosperity and technology has become more affordable, traditional constructs of light and darkness have been replaced by grossly over-lit spaces. The critique here is clear— technology should not be implemented carte blanche only because it is affordable and easy to install. All technology is susceptible to environmental concerns and, although LEDs do provide superior lighting efficiency in terms of energy, the rate of production required to fill the glut of over-lit lighting aesthetics is not environmentally sustainable. The reality of the industry is that we have an uncertain supply of both energy and materials, which should be addressed not through techno-solving, but rather through simple ethical implementation into the design process, which starts with the simple question, “do we really need this?” We hope that, as you turn through our work, you will be inspired to draw your own conclusions about the existing zeitgeist of light and will determine whether we have lived up to the standards that we have set for ourselves. We acknowledge that the license to critique a given system or set of beliefs is granted by being open to a critique of oneself and that in being open to that critique we challenge others to reform as we do. This is what we strive for— a new zeitgeist within the lighting design industry that will continue to develop for years to come. And it starts here.
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Our interactions with light are changing due to changing lighting (and controls) technologies; new choice of materials, a growing awareness of the latent properties of light for health and wellness, and new legislative policies. Technologies inevitably were going to change. Furthermore, supply cycles are changing and installation practices have become strikingly modular. Devices that use cameras or accelerometers to sense movements, such as Microsoft’s Kinect and Nintendo’s Wii, demonstrate that gestures can be a useful, powerful, and fun way to control a computer. However, these kinds of controls are rapidly entering the architectural design and lighting world due to the rapid cross-pollination between different manufacturing sectors.
C O N T E X TUA LIZING LIG HT
“The wheel is almost coming full circle, turning away from mass manufacturing and toward individualized production.”
26 C U LT U R A L
CONTEXTUALIZING LIGHT WITH CULTURE “Every practitioner in the built environment can benefit from better understanding the implications of culture in lighting design.�
immerse
CONTEXTUALIZING LIGHT WITH CULTURE Culture, climate, and materiality are the three pillars that form the bedrock for our critique of the zeitgeist. Climate and materiality are two great concerns within lighting, but while they possess enormous influence, they do have clearly defined boundaries. The broader a definition is of culture, the more accurate it becomes; the inverse for both climate and materiality. The flexible nature of culture holds a great deal of interest for design. How we manifest objects, systems, and behaviors through design is a large part of the dialogue surrounding the question: What is culture? The culture of lighting defines us. In an era that is increasingly segmented, with a renewed focus on site-specific, culturally aware design, every practitioner in the built environment can benefit from better understanding of the implications of culture in lighting design. While the nature
Every culture has had a distinct relationship with light, and that continues today. As it is manifested, light defines broader tastes and styles within a culture. And this has deeper implications than mere fashion. As more firms and practitioners begin to operate across geographic boundaries, understanding cultural drivers is critical for meeting the needs of the populace: from lighting the villages of India to designing civic, residential, and institutional environments in New York City, to exploring the burgeoning and conflicted world of the Middle East. Every practitioner in the built environment can ben-
What are the elements that define individual cultures? We might list the arts, architecture, technology, economics, religion, literature, politics, tradition and ritual, human biology and physiology, local conditions, climate, and natural resources. In analyzing a culture’s unique views on lighting we might consider light in relationship to each of the above elements. While certain elements, like the human physiological response to light, remain consistent cross-culturally, others, such as climate or religious traditions, can vary immensely. People all over the world follow the same circadian rhythms dictated by the Earth’s exposure to the sun. Most of us use rods and cones to detect light and color in our surroundings, and blue eyes around the world are more sensitive to bright light than brown eyes. The human eye reacts within a relative degree of accuracy to changes in light intensity, distribution, color, contrast, duration, and context. Sight is always dependent in part on the qualities of the last object seen, and also on the other things in the field of vision surrounding the object of focus. It is in the interpretations of these visual stimuli and in the patterns of types of stimulation that the human response begins to differ. Learning about culture informs lighting design, and thus our exploration of light has developed into an investigation of humanity’s relationship to its surroundings. Through our work in international markets over the past 2 decades, we have collected several observations and strategies for providing appropriate and contextual lighting design solutions in a wide variety of global cultural contexts. As this information accumulated over time, we began to feel a growing need to initiate a dialog with other designers, architects, landscape architects, and educators so that we could broaden our knowledge by exploring the differences and similarities that exist cross-culturally. Stylistic differences tend to fluctuate even within a single culture, mimicking the phases of the tides with pendulum swings from conservatism to eclecticism, from austerity to ostentation. If we define two poles of lighting design’s stylistic expression, such as modernist simplicity and the elaborate baroque, we can locate most cultures at some point between the two at any given time. Modernism describes an array of cultural movements rooted in the changes in Western society in the late nineteenth and early twentieth century. The term covers a series of reforming movements in art, architecture, music, literature, and the applied arts that emerged during this period. It is a trend of thought that affirms the power of human beings to create, improve, and reshape their environment with the aid of scientific knowledge, technology, or practical experimentation. In Europe and America, the influence of the Modernist movement can still be felt in our comparatively minimalist approach
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efit from better understanding the implications of culture in lighting design. Lighting solutions internationally balance universal ideas about light with local variations. A given culture’s position in the global economic development cycle is often reflected in its use of lighting in urban, night environments. However, striking a balance between regional differences and globalization is often a challenge.
C U LT U R A L
of culture is interesting, attempting to define or sculpt its wide boundaries is not the primary aim of this section. Rather, we, at AWA are interested in how culture informs light and affects how we perceive it. Becoming culturally aware is a difficult process. It takes decades of globalization, travel, and education to even scratch the surface of how we as humans have all come to inhabit this earth in so many different ways. Understanding the differing nature of culture globally as it affects light is one of the primary goals of this section.
immerse
“While certain elements, like the human physiological response to light, remain consistent cross-culturally, others, such as climate or religious traditions, can vary immensely.”
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gallery exterior at dusk as the electric lighting ramps up to greet the night
55 C U LT U R A L immerse gallery interior with metal mesh and temporary walls
gallery interior with metal mesh for hanging art
75 C U LT U R A L immerse view of ismail building from adjourning building
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First Presbyterian Church is one of the oldest and largest churches in New York City. Our lighting design focused on highlighting the Gothic style architecture of the church, as well as its series of custom, stained-glass windows. The lighting treatment was designed to highlight the natural beauty of the architecture without encumbering it with conflicting shadows and color distortion. rendering - ground plan at night
daytime satellite image of ground plan
CLIENT
First Presbyterian Church
ARCHITECT
First Presbyterian Church
YEAR
FIRST PRESBYTERIAN CHURCH
LOCATION VISUALS
2012 New York City AWA
perspective rendering immerse
C U LT U R A L
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126 INFRASTRUCTURE
grow
THE PARAMETRIC APPROACH “The lighting design scheme utilizes a parametric design approach to understand the essence of the scale, ‘stitching’ the lighting through the 44-acre township.”
THE PARAMETRIC APPROACH Lightings’ Impact on the Varying Scales of the Built Environment Lighting can play an important role in humanizing the scale of large projects. Some of the ways that lighting can help to mediate large spaces are by providing cues for wayfinding and by creating moments of intimacy within a larger space. Human-centric lighting design solutions can only be achieved by achieving a careful balance between these two aspects. The Rise of the Lighting Fabric Lighting can play an important role in humanizing the scale of large projects. Some of the ways in which lighting can help to mediate large spaces is by providing cues for wayfinding and by creating moments of intimacy within a larger space. Human-centric lighting design is often a careful balance between the two. Our lighting design solution for the World Trade Center (WTC) at the Brigade Gateway Complex in Bangalore humanized the vast scale of the project through the “Story of the Stitch.” Due to the vast scale of the Brigade Gateway complex, we created a lighting masterplan that unified all the intricate elements in this fabric using a parametric design approach, “stitching” the lighting through the 44-acre township. The Brigade Gateway Complex is a mixed-use township with diverse programmatic requirements that was constructed over a period of 6 years. When we were retained at the beginning of the process to provide lighting design services, we had to develop a set of operating “stitch” rules, so that the “embroidery” created was a cohesive design. The rules of the “scale of stitch” were to extend from the wavelength of light used to the lighting detail for a congregation space, to the 128-meter-tall facade of the WTC. The implementation of carefully selected lights in the fabric of the site creates a stimulating environment for the community where there is
What is the scale of the stitch? How does it make the embroidery richer to have a scalable stitch? The stitch is an interconnection between singular strands of material and the entire visual fabric that relates to the aggregation of elements toward a common focal point. The intent was to create an illuminated space that will serve as a catalyst for community interaction, where appropriately lit spaces can prompt social engagement. We also wanted to encourage interactions of various scales, from small groups of people to large crowds. There are various scale and height parameters like wavelength, color spectrum, and the color temperature of light that are used as the fundamental ingredients to tie the viewer to the scale. This is also followed through in the detailing, with careful consideration given to the dimension of detail and fixtures used as well as consistently in the shape and form (one example is the pixels in the mall). The parametric design approach also dictated the mounting height (depth) of lighting fixtures, that were mounted at +\- 150, +450, +900, +4500, +6750, +9000, as multiples of a given pattern.
“In designing for this rapidly changing world, creative and flexible lighting solutions keep each space fresh and unique and enliven the public spaces in the evening.”
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In designing for this rapidly changing world, creative and flexible lighting solutions keep each space fresh and unique and enliven the public spaces in the evening. The fixtures and the spaces must be futureproofed to remain relevant, such that they can be upgraded over time with the changes in technology. Furthermore, the control algorithms can be utilized and will allow the client to change the character of the space per the different scales. For example, the lighting design for the landscape spaces at Brigade Gateway can also change and adapt through the course of an evening, week, month or season; thereby creating a fresh visual environment on a continuing basis.
INFRASTRUCTURE
an implied suggestion of spaces for interaction. For example, in the interior of the Orion Mall, we took the aspects of stitching light within the ceilings of the public spaces. The lights were used as dots to identify wayfinding guidelines for people through the space. At the base of the escalators, we used similar pixelated lights as sources of direction. The balustrades of the stairwell were lit by small independent bursts of light that accentuated the vertical height of the atrium spaces. The pixelated light scheme led people out to the sidewalk toward the landscaping and into the grounds of the project. These moments are seen as runways of light through the landscape toward the center stage. The visual of connecting the interior to the exterior while bringing awareness to the scale enlightens the space. A layered approach was used to develop the lighting on the site to create an appropriate visual hierarchy. The dramatic forms of the buildings are highlighted and public spaces are given special emphasis through the lighting masterplan. The lighting scheme is crucial in establishing a sense of place and enabling intuitive navigation throughout the expansive 44acre site. The landscape lighting also complemented the signage and wayfinding cues located on the site, including linear progressions of light fixtures— to take you to the important destinations in the landscape.
grow
“A layered approach was used to develop the lighting on the site to create an appropriate visual hierarchy.”
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BIOPHILIA “Appropriately designed lighting aids in reducing stress and increasing tranquility.”
HEA RT
H E A LT HC A R E
BIOPHILIA “Biophilic design” can refer to several trends in modern “green” design, but in most uses, it indicates a design principle that goes beyond merely minimizing the impact of the built environment to create actual close contact between users and the “natural” world. By inviting nature into the design, a design reengages occupants with the environmental elements that are deeply wired to our genetic predispositions. Biophilia can be thought of as a subset of culture, with each environment having its own geographical signature as defined by the climate and flora and fauna that inherently originates from a place. As culture and climate are often a reflection of the surroundings of a place, an understanding of biophilia can be an important tool in a designer’s box, to be used to derive designs that are rooted in context. As being disconnected from natural environments can negatively affect one’s mental health, biophilic design is a solution to restoring balance to surrounding environments. Appropriately designed lighting aids in reducing stress and increasing tranquility. This can be further reinforced through the use of natural patterns such as cloud movement, ocean waves, and foliage patterns. At the heart of biophilic lighting design lies the way humans perceive the movement of light over time. People have strived to root design in their context. “Moonlighting,” our interpretation of biophilic lighting design has been successfully implemented in projects of varying scales— from masterplans to transportation projects to residential buildings. The benefits of moonlighting are many— it eliminates any visible lighting hardware at the pedestrian level and increases the ease of installation and maintenance. It eliminates dark areas, enhancing the pedestrian experience at night. It lends a touch of nature to the architecture as well (by making the architecture come alive), creating a distinct look for buildings as the light coming from high above creates patterns through the leaves, which are constantly moving as they respond to the wind through the landscape. When we were brought on board to light what would be the longest-spanning arch bridge in the world, the Sheikh Rashid bin Saeed Crossing or “Sixth Crossing” in Dubai, UAE, we would
“Opting instead for a custom wall art piece entitled the ‘Tree of Life’ using color-controlled lights and a luminous moon element synchronized with the lunar cycle, we balanced spectacle with the natural surroundings.”
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A second aspect of the project afforded an opportunity for biophilic design: that of a 6-meter diameter custom light fixture to become the focal point of the building’s lobby space. We decided to create a moon chandelier, a threedimensional spherical matrix of spherical LED lights, again animated with the changing phases of the moon. In practice, the fixture would at different times be darkened or illuminated in sections, with careful attention to the neatness (i.e., the lack of bleeding light) at the boundary between bright and dark. In the integrated lifestyle enclave of Brigade Gateway in Bangalore, one might expect a superstimulatory artificial environment of advertisements and commercial infrastructure. Instead, the space is centered on water and trees, and it incorporates related imagery throughout. For the facade of the Orion Mall, situated on the site, the client’s initial desire for a “feel of ‘Times Square’” was satisfied without the need for a full-wall backlit billboard. Opting instead for a custom wall art piece entitled the “Tree of Life” using color-controlled lights and a luminous “moon” element synchronized with the lunar cycle, we balanced spectacle with the natural surroundings. Though the moon is essentially inorganic, its regular cycle of 29.5 days so influences the rhythms of terrestrial life forms and life systems that it becomes an object of biophilia too. Extending the theme of pseudo-natural light, a reflective golden sun element directly mirrors the moon on the facade and the entire facade lighting scheme for the project recalls its inspiration: the glow of the setting sun striking the buildings. The shadows created by the 5-story embossing of the Tree of Life, the wall’s ornamental centerpiece, mimic the filtering of light through foliage. Indeed, the idea of the tree canopy is present elsewhere in the design of the space as well. One of the key focal points of the outdoor space is the 200-year-old rain tree, seen to its best advantage when moonlit by powerful lamps on the roof of the World Trade Center, the complex’s tallest building. This powerful yet broadly diffused light imitates the light of the moon, ensures the safety of users of the outdoor space at all times of night, and eliminates the need for harsh “area” lighting. The dappling of light through foliage was kept in mind when lighting the extensive tree plantings and pathways surrounding the body of water at the theater’s center.
H E A LT HC A R E
The proposed facade of the building on Parcel 4.11 of the King Abdullah Financial District in Riyadh, Saudi Arabia is dramatically blanketed by a display of linear lights, which from a distance, cohere into a single image. Considering the potential of the 8-story feature, we proposed a number of possible alternatives to the status quo, text-based functionality of typical billboards. The firm’s ideas included a ‘phases of the moon’ project that would show a visualization of the Earth’s satellite, waxing and waning with the lunar cycle even while gradually moving across the face of the wall laterally. This realism
of both cyclicality and side-to-side motion was motivated by and sought to activate the biophilic appeal of the moon as a source of light, security, and regularity for flora and fauna throughout human evolution. Extending the potential for biophilic imagery, we also proposed a creative design option displaying the “flight of the falcon,” a locally revered bird, moving realistically across the face of the building.
HEA RT
return once more to the universal appeal of the moon and its influence on life systems. Utilizing complex mathematical algorithms, the subtle lighting on the bridge’s graceful arches is programmed to correspond to the respective luminosities of five lunar states: those of full, gibbous, half, crescent, and new moon. Reflecting off the water, the image of the arch becomes a complete loop and thus completes the circle of the lunar profile.
224 H E A LT H C A R E HEA RT
The phenomenon of insects being attracted to certain wavelengths of light has been studied at length in the development of this product. We tested the hypothesis that removing the wavelengths of light that attract insects will cause them to be less attracted to the light source. Most insects possess a tendency to get attracted towards natural (sunlight and moonlight) and artificial sources of light, especially towards the visible light spectrum in the Ultraviolet (UV), Blue, and Green regions. Further experiments have been done to develop a light source that attracts fewer or no insects. In other
words, the radiant energy from the light source will be free of the wavelengths that attract different insect species and cause their fatality. Inspired by the concept of non-violence in Gandhism, the product is titled “Ahimsa Light.� The Ahimsa Light has the potential to save the lives of insects and to reduce insect swarms around light sources. Additionally, this light fixture will be easy to maintain because it attracts an almost negligible number of insects, compared to other artificial light sources. Without causing harm to living beings, the Ahimsa Light will provide a clean lighting environment, devoid of insect disturbance.
CLIENT DESIGNER YEAR
Healthcare Product Design - A H I M S A L I G H T ( Te c h n i c a l P a t e n t )
LOCATION VISUALS
Multiple AWA 2017 Multiple AWA
225 H E A LT H C A R E HEA RT
diagram illustrating ahimsa light
mockup of experiment