Page 1

# I N S TA L I G H T The Light Of Instagram

Andrius Maguskinas Unit 7

Design Tutors - Yorgos Loizos & Ned Scott Technology Coordinator - Kieran Hawkins

2019


ABSTRACT

Instagram - A Vain Medium Where The Selfie Reigns Supreme. Photographs Record Light. Period. Control Over Light = Control Over The Final Image. INSTALIGHT - The Light Of Instagram is a research project that explores the lighting conditions of an Instagram image and what lighting and qualities produce the most ideal environment. The project aims to recreate these ideal conditions through testing physical models and researching other Instagrammable locations, both in shoreditch and beyond.


CONTENTS

-

Chapter I - Project Overview - Page 1 Chapter II - Site Information - Page 7 -

Chapter III - Lighting Conditions - Page 23 Chapter IV - Lighting Experiments - Page 31 Chapter V - Wes jones - Page 37 Chapter VI - Yayoi Kusama - Page 43 Chapter VII - Studio Roosegaarde - Page 49 Chapter VIII - James Turrell - Page 55 Chapter IX - Conclusion - Page 59 Chapter X - Technical Drawings - 63


CHAPTER I Project Overview GA Plan

1


The Light Of Instagram The light of Instagram is a research project with an aim to recreate the lighting conditions of the most instagrammable hotspots in Shoreditch. S h o r e d i t c h i s f a m e d f o r i t ’s m a n y I n s t a g r a m m a b l e l o c a t i o n s , v i b r a n t e n e r g y a n d a r t i f i c i a l l i g h t . As a results of this, the program of my building project is to design an Instagrammable High Line that contains artist studios underneath which will work in tandem with the Highline with the artists creating the Instagrammable spaces above. The Highline is not formed of a single building, but instead of 4 instagrammable moments along it with bars and shops dispersed b e t w e e n . T h e a r c h i t e c t u r a l a e s t h e t i c o f t h e H i g h l i n e w i l l b e i n s p i r e d b y t h e N e w Yo r k H i g h l i n e w h i c h c o n v e r t e d a n o l d a n d d i s u s e d p o r t i o n o f r a i l w a y t r a c k s i n t o a H i g h l i n e o v e r N e w Yo r k . Much like my site that used to contain an old railway goods yard and train station. The complexities of this project are directly a result from the aesthetic with an aim of recreating the lighting conditions of Instagrammable spaces. The technical study will focus on one Instagrammable moment in my building. This Instagram Moment is going to be about the c h a r a c t e r i s t i c o f L i g h t , N e o n & C o l o u r. D u r i n g t h e d a y, t h e s p a c e w i l l b e u n c o v e r e d a n d r o t a t e according to the sun to contain the most ideal day time lighting to help perfect peoples selfies, using artificial lighting to amplify the effects of daylight and supplement natural light on cloudy days, so that the photos people take always look like they were taken on the most sunny ideal d a y. H o w e v e r a t n i g h t , p h o s p h o r e s c e n t l i g h t s w h i c h w i l l h a v e r e c h a r g e d d u r i n g t h e d a y w i l l s t a r t t o g l o w t o p r o d u c e a n e v e n m o r e t h e a t r i c a l I n s t a g r a m S p a c e i n s p i r e d b y t h e Ya y o i K u s a m a I n f i n i t y R o o m s a n d J a m e s Tu r r e l l ’ s Tu n n e l P i e c e s s u c h a s “ T h e L i g h t I n s i d e ” . This technical report is comprised of XXX parts

2


Fig 1: The Museum Of Ice Cream The Museum Of Ice Cream is an interactive pop up Instagrammable art exhibition designed by Maryellis Bunn that has travelled between New York, Los Angeles, San Francisco and Miami, selling out months worth of $38 tickets in under 30 minutes. The exhibition has been designed with a sole purpose of being used as a backdrop for peoples social media selfies and was one of the inspirations behind my own project.

3


4


GA PLAN (NOT TO SCALE)

Highlighted Area Of Focus

5


CHAPTER II Site Information Photos Constraints Shadow Diagrams

7


Shoreditch, home to many instagrammable locations, has recently acquired a reputation of being an Instagram hotspot. An area where many spaces are being designed solely to be viewed through the lens. Instaline is a proposal for a high-line made up of Instagrammable moments to be situated along a highline on the former site of bishops gate goodyard. A site of keen interest for many developers. The site sits on top of an in-filled piece o f l a n d w h e r e t h e p r e v i o u s l y k n o w n B i s h o p s g a t e r a i l w a y s t a t i o n , a n d t h e n B i s h o p s g a t e G o o d s Ya r d u s e d t o b e located in Shoreditch London England. The site contains several listed walls and still retains the lower level rails and viaducts on site. The 11 acre site spans about 500m in length and is roughly 80m wide and sits in-between two rail tracks that go either side. On one side there is the raised tracks on which the overground runs, and on the other side dug into the ground are the tracks for national rail. It is currently accessible from 3 points. The first one being Wheler Street, where through this entrance you get access to a ramp that takes you to the top of the in-filled viaducts. The second access point is Shoreditch High Street along the A10 road that passes through Shoreditch, near boxpark. The final access point is from Brick Lane in Shoreditch, this access leads underneath the viaducts. Many parts of the site are located within conservation areas or either listed Grade 1, Grade 2 or Locally Listed areas. There is also many underground, overground, and train lines that either go across the site, o r a r e n e a r t h e s i t e b o x i n g t h e s i t e i n . L a s t l y, T h e s i t e i s a l s o a f f e c t e d b y t h e p r o t e c t e d v i e w s o f S t . P a u l ’s , w i t h t h e p r o t e c t e d v i s t a f r o m We s t m i n s t e r p i e r a n d t h e p r o t e c t e d v i s t a f r o m k i n g H e n r y ’s m o u n d R i c h m o n d c u t t i n g through the site. As a result, the building on site will have to be of a relatively low nature. The site is surrounded by Shoreditch High Street and Commercial Street to the West, Brick Lane to the East, rail-lines to the South, a n d B e t h n a l G r e e n R o a d t o t h e N o r t h . To t h e N o r t h o f t h e s i t e , t h e r e i s m i x e d u s e d e v e l o p m e n t s , t h a t i n c l u d e warehouses, studios and residential, to the north west there is Hoxton and Shoreditch, both very vibrant areas with small shops & start up businesses, creative industries and many bars and restaurants. The eastern edge has brick lane which is also comprised of retail units with residential areas above, and along containing bars and restaurants.

8


SITE & CONSTRAINTS

SITE B

SITE A

Scale 1:5000

Site A - Phase 1 Of Highline. Intended to be fully realised. Site B - Phase 2 Of Highline. Intended for expansion of Highline if successful.

Conservation Area

S t P a u l ’s Protected View

Grade 1 Listed

Central Line

Grade 2 Listed

National Rail

Locally Listed

Overground

9


SITE PHOTOGRAPHS BISHOPSGATE GOODSYARD

Entrance to site from Shoreditch High Street

S i d e W a l l O f G o o d s Ya r d From Sclater Street

Demolished Area Within Goodsyard

Demolished Area Viewed From Wheler Street

Looking East From Where The Upper Level Platform 3 Would Have Been

Upper Level Platforms

View From Site Looking West To w a r d s Tr a i n S t a t i o n

Upper Level Platforms

Outer Roadway On Lower Level

Tu r n Ta b l e O n O u t e r Roadway On Lower Level

Remaining Part Of Goodsyard Which Contain The Braithwaite Viaduct

Wheler Street

Mess Room

Tr a n s v e r s e P l a t f o r m A t E a s t End Of The Lower Rail Level

S h o r t Tr a n s v e r s e L i n e

S h o r t Tr a n s v e r s e L i n e

Tr a n s v e r s e L i n e R u n n i n g T h e Full Width Of The Western End Of The Lower Rail Level

Looking Across Platforms In Lower Level

Office area on the lower rail floor with Arching similar to Braithwaite Viaduct

Goods Bank And Canopy Built On The Site Of Spitalfields Granaries

Beneath The Lower Rail Level

The Outer Roadway On The Lower Road Level Linking Shoreditch High Street With Wheler Street

P o s i t i o n O f T h e Tw o Longitudinal Lines On The Lower Rail Level

Tu r n t a b l e s S e r v i n g Tr a n s v e r s e L i n e R u n n i n g F u l l Width Of Western End Of Lower Rail Level

10


Sludge House At East End Of Goodsyard

Sludge House At East End Of Goodsyard

Sludge House At East End Of Goodsyard

Internal View Of Sludge House

Goods Bank And Canopy Built On The Site Of Spitalfields Granaries

Bishopsgate Goods Station

Bishopsgate Goods Station

W a l k w a y A d j a c e n t To Bishopsgate Goods Station

Three Longitudinal (East West) Lines In Inner Section Of The Lower Rail Level

Hydraulic Accumulator

Looking Down On One O f T h e Tw o H y d r a u l i c Accumulators

Looking Down On The Hydraulic Accumulator

Bricked arch in the office area on the lower rail floor

Small rest room in the basement store rooms between the lower rail level

Great Eastern Railway Personnel Files In The Basement Store Rooms

Small Office On Back Of Outer Roadway On South Side Of Lower Rail Level

Tw o L e v e l R o o m W i t h Mainline Into Liverpool Street Seen From Window

Kitchen

Tw o L e v e l R o o m W i t h Unknown Use

Hydraulic Accumulator

O n e O f T h e Tu r n t a b l e s I n The Inner Area Of The Lower Rail Level

C l o s e U p O f T h e Tu r n t a b l e

T h e Tu r n t a b l e I n T h e I n n e r Area Of The Lower Rail Level

Hydraulic Rams Below The Deck Of The Platform 3 Wagon Hoist

11


SHADOW ANALYSIS

JUNE

08:00

10:00

13:00

16:00

18:00

21:00

09:00

10:00

12:00

13:00

15:00

17:00

DECEMBER

12


SUN PATH DIAGRAM

Looking at the shadow analysis, it is evident that there are no shadows cast over the site where the InstaLine w i l l s i t . H o w e v e r, o n c e s t r u c t u r e s a n d I n s t a g r a m M o m e n t s a r e a l l p l a c e d o n t h e s i t e , t h e y w i l l c a s t s h a d o w s o n t o e a c h o t h e r. T h e r e f o r e i t i s i m p o r t a n t t o f i n d a way to minimise these shadows as they will be a large distraction for the photographs. F u r t h e r m o r e , t h e l i g h t i n t e n s i t y f r o m t h e s u n i n t h e w i n t e r i s f a r l o w e r, t h e r e f o r e i t w i l l be important to find a way to substitute the missing light with artificial lighting so users p h o t o g r a p h s a l l l o o k l i k e t h e y w e r e s h o t o n t h e m o s t i d e a l s u n n y d a y. T h e n o n c e t h e s u n has set the Instagram Moment will go into night mode, where the darkness of the night will play an important role in helping produce the Instagram Moment.

13


FIELD OF VIEW & ANGLE OF VIEW

Lens

Angle Of View

Subject

Sensor

Focal Length

Device

Focal Length

Angle Of View

Aperture

Human Eye

20mm

95°

f3 - f9

iPhone

30mm

73°

f2.2

Ultra Wide Angle

Wide Angle

Standard

Te l e p h o t o

Super Te l e p h o t o

Focal Length

Angle Of View

600mm 500mm 400mm

4° 10” 5° 6°10”

300mm

8°15”

200mm

12°

195mm

18°

100mm

24°

85mm 80mm

28°30” 30°

70mm

34°

50mm

46°

35mm

63°

28mm

75°

24mm

84°

20mm

94°

14mm

114°

180°

Fisheye

35mm Camera

Longer Focal Length = Narrower Angle Of View Shorter Focal Length = Wider Angle Of View

14


VILLAGE UNDERGROUND INSTAGRAM PHOTO ANALYSIS 1.

2.

3.

2

4.

1 3

4

After exploring the different fields & Angles of view that are able to be produced with a camera. An Instagrammable location from shoreditch was analysed to look at how the same moment was captured using different views and angles. The Image above shows where the Instagram photos were taken from The image to the right was an experiment that was produced where the different shots were overlaid to produce one image and look where they overlap and meet.

15


16


INSTAGRAMMABLE LOCATIONS - SHOREDITCH

PICTURES OF:

Art & Spaces

Food

Selfies & People Less Instagramed

17

More Instagramed


SHOREDITCH IN THE DAY

Shoreditch- home to the hipsters, the trend setters and the start-ups with m o r e t h a n 1 5 , 0 0 0 , ( t h a t ’s f i v e t i m e s t h e a m o u n t a s C a n a r y W h a r f ) . During the day Shoreditch has an identity that is tough to pin down. In the weekdays the streets are far less populated than during the weekends, h o w e v e r, e v e n o n w e e k e n d s , t h e s t r e e t s d o n ’ t h a v e t h a t s a m e b u s t l e t h a t Shoreditch has during the night. The area, full of youth, those who want to be in the most hip and happening areas is full of street art, street food, and cutting edge street fashion. If there was a word to sum up Shoreditch it would be “Street”. W i t h i t ’s r u s t i c i n d u s t r i a l s t y l e , a n d r a w r o u g h g r i t . S h o r e d i t c h h a s a q u a l i t y t o i t t h a t i s l i k e n o o t h e r. H o w e v e r i t i s v e r y m u c h i n c o n t r a s t t h o s e w h o v i s i t it to get their snaps. With the people who visit often not being the sort of person who would want to live in a derelict warehouse, or socialise with the very artists whose work they pose in-front of. When walking around, you can’t help but get a sense of pseudo art types. W i t h p e o p l e o n l y v i s i t i n g t h e l o c a t i o n s w h e r e t h e g r a m h a s m a d e t r e n d y. As a result, delicate moments are often killed by the view of social media influencers posing in front of a mural taking 50 pictures aiming to get the perfect picture and as a result of this, you cant help but feel that many local businesses are pandering to this instagram hype to get customers in through t h e d o o r.

18


SHOREDITCH AT NIGHT

Once the sun starts to go down, Shoreditch starts to come alive. Like a UV light, the borough which has spent the day recharging during the day starts to release its energy during the night once the work shifts end, and the bars, restaurants and clubs start to come alive with people. Even during the w e e k d a y s w h e n i n t h e d a y t h e s t r e e t s a r e n ’ t a s b u s y, d u r i n g t h e e v e n i n g , t h e area comes alive, with crowds stood outside neon bars and pubs, drinking their after work beers and puffing away on their Marlboro Lights.

To s u m u p , a f t e r m y v i s i t t o S h o r e d i t c h , I found myself unsure, maybe it was the grey skies, or maybe the lack of people in the streets. But I expected every corner of shoreditch to be filled with the same hustle and bustle that the likes of Spitalfields Market was met with.

During the night shoreditch really starts to live up to its reputation of being a night life central hub. The atmosphere and energy is really amplified by the very Instagrammable lighting in the area. The clubs and bars in the area all h a v e d i f f e r e n t h u e s o f n e o n , m o s t n o t a b l y, p i n k s , p u r p l e s a n d r e d s . C o l o u r s which are often very popular on Instagram. Other pubs have warm toned fairy lights which are also very instagrammable or soft glowing Edison bulbs within industrial backdrops. It is this very lighting that changes the mood of shoreditch and is what drives my project.

And whilst there is no denying the instagrammable nature of shoreditch. There is also no escaping the reality that this Instagrammability is tough to find, and once found, is often awkward to photograph in front of when surrounded by people not phased about documenting their lives.

19

As a result of this, my project will aim to be a one stop shop of all things Instagrammable by producing a set of instagrammable moments that will use light to recreate the lighting conditions of instagrammable locations around London and Shoreditch where influencers can go to take pictures of themselves against ever changing backdrops


20


VIEWPOINTS FROM INSTAGRAM MOMENT

5

4 3

2

1

6

Map At 1:50000

Locations Visible: 1. Canary Wharf 2. Aldgate East 3. City Of London 4. High-Rise Buildings 5. The Barbarian Centre 6. The Shard

21


CHAPTER III Lighting Conditions Colour Cast Analysing Instagrammable Spaces Artificial lighting

23


LUMENS, LUX & KELVINS

Lumen Levels

LUX Levels

A Lumen (LM) is a measurement of the total “amount” of light that is produced by a light source.

50,000

British Summer Sun

A L U X i s a o f m e a s u r e m e n t o f l i g h t l e v e l i n t e n s i t y.

5000

Overcast

LUX = 1 Lumen spread over an area of one square meter

500

Well-Lit Office

300

Easy Reading Minimum

50

Passage

15

Good Road Lighting

10

Sunset

5

Standard Road Lighting

2

Security Lighting

1

Tw i l i g h t

0.3

Clear Full Moon

0.1

Moonlight & Clouds

0.001

Standard Starlight

0.0001

Bad Starlight

1000 Lumens in a square metre area lights up with 1000 LUX. 1000 Lumens spread over 10 square metres produces an illuminance of only 100 LUX. Therefore: To l i g h t a l a r g e r a r e a w i t h t h e s a m e n e c e s s a r y LUX level requirements, a larger level of Lumens is needed.

4 LM

49 LM

120 LM

LUMENS

255 LM

LUX

700 LM 700 LM

1 cm

10.000 LUX

5 cm

8.000 LUX

10 cm

700 LM

15 cm

700 LM

20 cm

700 LM

25 cm

700 LM

6.100 LUX 4.300 LUX 3.000 LUX 2.100 LUX

Kelvin Levels

1000

2000

3000

4000

5000

6000

7000

8000

9000

10000

Early Sunrise Candle Light

Fluorescent Bulb

Tungsten Bulb Halogen Bulb

Midday Direct Sun

Electric Flash

24

Overcast Sky

Clear Blue Sky


COLOUR CAST Colour cast is an unwanted tint of colour that is cast on objects when photographing an image due to other lighting conditions affecting the image. For example when photographing a room, the light coming in through a window from the outside will give the image a blue tint, and artificial lights that are turned on will produce a more amber glow in the image. However the human eye sees this effect but the brain naturally adjusts any difference in colour temperature, therefore it is only visible in photographs where the difference in colour temperature isn’t adjusted. To a d j u s t t h i s c o l o u r t e m p e r a t u r e c h a n g e , p h o t o g r a p h e r s e i t h e r u s e f i l t e r s t o c o u n t e r a c t t h e effects of the change in colour temperature, where amber filters are used to reduce the blueish tint caused by daylight and blue filters reduce the orange colour caused by incandescent light. However they may also use post editing software such as Photoshop which allows them colour correct their images when using filters isn’t an option.

1 3

5

2 4

1 3

5

2 4

Image Showing The Effects Of Colour Cast 1. Internal Artificial Lighting Causes Amber Glow Removed 2. Amber Glow On Glass Fridge Removed 3 . W o r k t o p H a s A n O r a n g e G l o w To T h e L e f t A n d B l u e T i n t To T h e R i g h t T h a t I s R e m o v e d 4 . C h r o m e L e g s O f S t o o l s R e f l e c t L i g h t & B r o w n To n e s Of The Wooden Flooring Which Is Then Removed 5. Blue Tint From Natural External Light Is Removed Due to the need for ideal pictures and wanting to produce the most ideal lighting conditions during t h e d a y. T h e I n s t a g r a m m o m e n t w i l l r e q u i r e a c o l o u r t e m p e r a t u r e b e t w e e n 6 0 0 0 - 9 0 0 0 K e l v i n s . O n days when it is cloudy or the lighting is not ideal, artificial lighting will kick in to compensate for the lack of light. During the evening, when the moment is in night mode, the space will need to have a kelvin temperature of 1000 - 3000 Kelvins. This too will be produced using the artificial lighting rig.

25


PLANCKIAN LOCUS

P l a n c k i a n l o c u s i n t h e 1 9 3 1 C o m m i s s i o n O f I l l u m i n a t i o n ’s chromaticity diagram.

1 9 6 0 ’s U p d a t e d P l a n c k i a n L o c u s w h e r e t h e i s o t h e r m s (lines) are perpendicular to the Planckian Locus, and are drawn to indicate the maximum distance from the locus that the Commission Of Illumination considers the correlated colour temperature to be meaningful.

Using the Planckian Locus to estimate the colour temperatures of the chosen Instagrammable spaces to help inform the colour temperatures that will be used in the Instagram moment. The majority of the spaces surveyed where on the warmer side of the kelvin scale. However for better p i c t u r e s i t i s i m p o r t a n t t o h a v e a c o o l e r l i g h t . T h e r e f o r e g o i n g f u r t h e r, d u r i n g t h e d a y m o d e o f the project, the lighting required will need to be much cooler in temperature, however during the night time, the lighting will need to be warmer to provide a more intimate backdrop.

26


INSTAGRAMMABLE LOCATION COLOUR TEMPERATURES*

1000 - 2000 Kelvins

4000 - 6000 Kelvins

1000 - 1500 Kelvins

10000+ Kelvins

1000 - 2000 Kelvins

*Values are estimates based on the Planckian Locus conversions of RGB colour into kelvins.

27


STUDIO & ARTIFICIAL LIGHTING

Tr a d i t i o n a l & H a l o g e n I n c a n d e s c e n t

F l u o r e s c e n t Tu b e

CFL Curly Bulb

W a r m C o l o u r Te m p e r a t u r e Bare Bulb Ver y Harsh Gets Ver y Hot

M a n y D i f f e r e n t C o l o u r Te m p e r a t u r e s O f f i c e s O f t e n H a v e D i f f e r e n t Te m p e r a t u r e s Tr a d i t i o n a l l y G r e e n i s h Magenta Filter On Len Corrects This

Not Ideal For Photography Cheaper Bulbs Have Mixed White Balance Give Of Dirty Electricity & Give Headaches Contain Mercury

LED Bulb

Strobe Light

Flash Light

C o m e I n M a n y C o l o u r Te m p e r a t u r e s Daylight Rated Ones Are 5000-6000k For Households Can Get Warmer Ones

Have Ver y Fast Recycle Times P h o t o g r a p h e r D o e s N o t N e e d To W a i t F o r F l a s h To C a t c h U p Not Ver y Portable

Slow Recycle Time Half The Light Pumped Out Versus Strobe Ver y Portable

LED Studio Lights

Lightbox

Umbrella Light

S t a b l e C o l o u r Te m p e r a t u r e s I n G o o d B r a n d s S o m e M o d e l s H a v e Tw o C o l o u r Te m p e r a t u r e s LED Light Can Be Harsh Easily Softened By Bouncing Light Of Walls

U s e d To D i f f u s e L i g h t Helps Produce Soft Light Shadows Uniform Illumination Across Whole Scene Only Goes Where Directed

Ver y Slight Shadows Do Not Produce Intense Beam Of Light G r e a t To B e U s e d A s F i l l L i g h t

Ring Light

Beauty Dish

Reflectors

Almost Perfect Fill Light Produces Red Eye Instead Of Producing No Shadows Produces Shadows All Around Subject

Lighting Is Both Focused And Soft Ideal For Fashion Style Shoots Illuminates Subject From All Angles

Hand Held & Portable N e e d To B e C l o s e To S u b j e c t Help Reduce Shadows From Underneath

Barn Doors

Snoot

Gel Filters

Adjusts Light Beam Used For Back Lighting & Background Setups

Tu n n e l F o r L i g h t To G o T h r o u g h Restricts Light In All Other Directions Except Exact Direction Pointed U s e d To E m b r a c e D e t a i l s

Unlike Coloured Lens Do Not Change Look Of Whole Scene O n l y C h a n g e C o l o u r & Te m p e r a t u r e O f L i g h t Beam & Provide Greater Control

28


MAIN LIGHTING SETUPS Standard Three-Point Set-Up 1

2 Other Set-Up Possibilities 1

1

1

8

7

8 6

3

3

3 5

9

6

4

5

4

9

5 4

2

2

2

1. Backdrop 2. Camera 3. Subject 4 . K e y L i g h t - M a i n L i g h t To I l l u m i n a t e T h e S u b j e c t 5. Fill Light - Fills In The Shadows Produced By The Key Light 6. Back Light - Either Illuminates Backdrop Or The Back Of The Subject 7 . R i m L i g h t - C l i n g s To T h e E d g e s O f T h e S u b j e c t P r o d u c i n g A n O u t l i n e 8 . H a i r L i g h t - U s e d To I l l u m i n a t e T h e H a i r , E i t h e r F r o m I n F r o n t O r B e h i n d 9 . R e f l e c t o r - U s e d To B o u n c e E i t h e r N a t u r a l O r A r t i f i c i a l L i g h t O n t o S u b j e c t

In the instagram moment, there will need to be different types of lighting for different purposes. There will need to be the scene lighting, which will be the lights used as a medium, in particular during the night mode of the instagram moment. However there will also need to be lighting that is used to illuminate the room so that it is possible to take a picture. For the scene lighting, LED studio lights will be used to illuminate the room, and produce the overall colour of the room as these have varying colour temperatures, and are also able to control the colour that is emitted. Further they are rather powerful and . For illuminating the space, lightboxes will be used due to its ability to diffuse easily and produce soft shadows. Gel filters are also going to be implemented into the lighting rig so they can be interchanged to adjust the colour temperature of the illumination.

29


CHAPTER IV Lighting Experiments Colour Temperature Light Intensity Ideal Conditions

31


DAY TIME COLOUR TEMPERATURE TEST

Variables: 1. Light Intensity (LUX) Of Artificial Light 2 . C o l o u r Te m p e r a t u r e O f L i g h t ( I n f o r m o f f i l t e r o v e r l i g h t ) Constants: 1. Intensity 2. Distance 3. Exposure 4. Distance 5. Distance

Of Sun Light Of Lights From Model Setting On Camera Of Camera From Model Where Light Is Measured

This experimented explored the effects different colour temperatures and light intensities had on the scene. The images show how having a set LUX and kelvin level, produces a d i f f e r e n t c o l o u r t e m p e r a t u r e i n t h e s c e n e i t s e l f . To m e a s u r e t h e l i g h t i n t e n s i t y a n d c o l o u r temperature an app was used on a smart phone. This produced results that are not as a c c u r a t e a s t h e y c o u l d h a v e b e e n h a d a p r o f e s s i o n a l l i g h t r e a d e r b e e n u s e d h o w e v e r, t h e y are still a rather good reflection of real results. The day time tests showed that the most ideal lighting conditions to take pictures are when the artificial lighting is set between 420 and 525 LUX, with kelvin levels of the lighting being between 4000 and 5500.

32


LUX: 250 KOL: 2000 KIS: 5420

LUX: 250 KOL: 3000 KIS: 5225

LUX: 250 KOL: 4000 KIS: 5634

LUX: 250 KOL: 5500 KIS: 5681

LUX: 250 KOL: 8000 KIS: 5408

LUX: 250 KOL: 10000 KIS: 5705

LUX: 325 KOL: 2000 KIS: 5200

LUX: 325 KOL: 3000 KIS: 5175

LUX: 325 KOL: 4000 KIS: 5509

LUX: 325 KOL: 5500 KIS: 5737

LUX: 325 KOL: 8000 KIS: 5705

LUX: 325 KOL: 10000 KIS: 5543

LUX: 420 KOL: 2000 KIS: 4900

LUX: 420 KOL: 3000 KIS: 5144

LUX: 420 KOL: 4000 KIS: 5357

LUX: 420 KOL: 5500 KIS: 5509

LUX: 420 KOL: 8000 KIS: 5925

LUX: 420 KOL: 10000 KIS: 5779

LUX: 525 KOL: 2000 KIS: 4760

LUX: 525 KOL: 3000 KIS: 5275

LUX: 525 KOL: 4000 KIS: 5888

LUX: 525 KOL: 5500 KIS: 5881

LUX: 525 KOL: 8000 KIS: 5685

LUX: 525 KOL: 10000 KIS: 5597

LUX: 800 KOL: 2000 KIS: 4090

LUX: 800 KOL: 3000 KIS: 4995

LUX: 800 KOL: 4000 KIS: 5753

LUX: 800 KOL: 5500 KIS: 6119

LUX: 800 KOL: 8000 KIS: 5105

LUX: 800 KOL: 10000 KIS: 8639

Lux Level = LUX Kelvin Of Light = KOL Kelvin In Scene = KIS

33


NIGHT TIME COLOUR TEMPERATURE TEST

Variables: 1. LUX Level Of Light 2 . C o l o u r Te m p e r a t u r e O f L i g h t ( I n f o r m o f f i l t e r o v e r l i g h t ) Constants: 1. Intensity 2. Distance 3. Exposure 4. Distance 5. Distance

Of Moon Light Of Lights From Model Setting On Camera Of Camera From Model Where Light Is Measured

The night time tests showed that the most ideal lighting conditions to take pictures are when the artificial lighting is set to 58 LUX with kelvin levels ranging being between 2000 - 4000 producing an in the scene kelvin levels of 2434 - 4224. The reason for this is because the atmosphere in this is the most intimate and warm.

34


LUX: 11 KOL: 2000 KIS: 3567

LUX: 11 KOL: 3000 KIS: 4235

LUX: 11 KOL: 4000 KIS: 4370

LUX: 11 KOL: 5500 KIS: 4567

LUX: 11 KOL: 8000 KIS: 4701

LUX: 11 KOL: 10000 KIS: 4495

LUX: 23 KOL: 2000 KIS: 2549

LUX: 23 KOL: 3000 KIS: 3477

LUX: 23 KOL: 4000 KIS: 3982

LUX: 23 KOL: 5500 KIS: 4983

LUX: 23 KOL: 8000 KIS: 4708

LUX: 23 KOL: 10000 KIS: 5335

LUX: 58 KOL: 2000 KIS: 2434

LUX: 58 KOL: 3000 KIS: 3379

LUX: 58 KOL: 4000 KIS: 4224

LUX: 58 KOL: 5500 KIS: 5068

LUX: 58 KOL: 8000 KIS: 4921

LUX: 58 KOL: 10000 KIS: 6112

LUX: 77 KOL: 2000 KIS: 2137

LUX: 77 KOL: 3000 KIS: 3195

LUX: 77 KOL: 4000 KIS: 4348

LUX: 77 KOL: 5500 KIS: 5243

LUX: 77 KOL: 8000 KIS: 5342

LUX: 77 KOL: 10000 KIS: 7467

LUX: 250 KOL: 2000 KIS: 2000

LUX: 250 KOL: 3000 KIS: 3188

LUX: 250 KOL: 4000 KIS: 4960

LUX: 250 KOL: 5500 KIS: 5435

LUX: 250 KOL: 8000 KIS: 8334

LUX: 250 KOL: 10000 KIS: 10000

Lux Level = LUX Kelvin Of Light = KOL Kelvin In Scene = KIS

35


CHAPTER V Wes Jones Rotation Mechanics Artifical Light

37


CASE STUDY 1 WES JONES - NASA MEMORIAL

The Wes Jones NASA memorial is a structure that has the names cut out of a reflective metal sheet so that light can pass through the perforations making it seem like the names are f l o a t i n g i n t h e s k y. T h i s i s a c h i e v e d d u e t o t h e m e t a l s h e e t r e f l e c t i n g t h e s k y a n d r o t a t i n g to face the sun along with artificial light being projected from the back of the structure to illuminate the names. The key principals taken from this case study that are intended to be implemented into the Instagram Moment is how the structure reflects its surroundings, and further the mechanics used to rotate the structure.

38


Plan Of Structure

S e c t i o n S h o w i n g T h e S t r u c t u r e T i l t i n g To T h e S u n

H o w T h e S t r u c t u r e R o t a t e s & T i l t s A c c o r d i n g To T h e S u n

The Rotation Mechanism

39


REDUCING SHADOWS

Variables: 1. Intensity Of Light Constants: 1. Intensity Of Sun Light 2. Position Of Model 3. Exposure Setting On Camera 4. Distance Of Camera From Model

No Artificial Lights

4 Artificial Lights

1 Artificial Light

2 Artificial Lights

3 Artificial Lights

5 Artificial Lights

6 Artificial Lights

7 Artificial Lights

Instagram is a vain medium, and as a result, when designing an Instagrammable space, there is a need to ensure that any photographs taken within it are next to perfect. One of the biggest difficulties in producing the perfect shot is the interference of shadows which could be cast over the moment. As such, a requirement to reduce shadows as much as possible cropped up within the design. Therefore, rather than attempting to block out the natural light so that shadows wouldn’t be cast, to then have to replace it using artificial lighting, a decision was made to utilise the sun and produce a design t h a t r o t a t e d w i t h i t t o e n s u r e n o s h a d o w s w e r e c a s t d i r e c t l y. The goal of the experiment was to demonstrate how by simply rotating the building to match the direction of the sun, it was possible to eliminate the shadows on the backdrop from the model. For the experiment, the shadows were cast onto the backdrop, however in the real world, the shadows would be cast onto the structure itself from surrounding context a n d o t h e r a r e a s o f t h e b u i l d i n g . H o w e v e r, s i n c e t h e r e s t o f t h e b u i l d i n g is yet to be realised, what structures would be casting shadows over this m o m e n t w e r e s t i l l u n c l e a r, s o i n s t e a d t h e m o m e n t w a s u s e d t o e x p e r i m e n t with shadows onto the backdrop. Implementing this in a real life scenario would produce the same effects if any shadows were to be cast onto the instagrammable moment itself as a result of any structures that are built on or around it. As visible in the photographs to the right, when the model is rotated the shadows are constantly behind it. A second way to reduce shadows is with artificial light. Therefore, as t h e i m a g e s a b o v e s h o w, t h e m o r e a r t i f i c i a l l i g h t s t h a t a r e u s e d , t h e m o r e illuminated the space is, along with a reduction of shadows.

40


No Rotation

Rotation

Variables: 1. Position Of Sun

Variables: 1. Position Of Sun 2. Position Of Model 3. Position Of Camera

Constants: 1. Intensity Of Sun Light 2. Position Of Model 3. Exposure Setting On Camera 4. Distance Of Camera From Model

Constants: 1. Intensity Of Sun Light 2. Exposure Setting On Camera 4. Distance Of Camera From Model

8am - No Rotation

10am - No Rotation

12pm - No Rotation

14pm - No Rotation

16pm - No Rotation

8am - Rotation

10am - Rotation

12pm - Rotation

14pm - Rotation

16pm - Rotation

41


CHAPTER VI Yayoi Kusama Light Mirrors Reflection

43


CASE STUDY 2 YAYOI KUSAMA - INFINITY ROOM

60s

45s

30s 25s 15s

5s

P l a n O f T h e I n f i n i t y R o o m D o c u m e n t i n g T h e R o u t e A n d T i m e Ta k e n To Walk Through Along With Where Users Were Viewing.

S c r e e n s h o t s O f I m a g e s P o s t e d To I n s t a g r a m U s i n g T h e I n f i n i t y R o o m A s A Backdrop For Their Selfies.

44

4m


T h e Ya y o i K u s a m a I n f i n i t y R o o m i s a r o o m i n s t a l l a t i o n in which the same objects are carefully assorted and scattered, and then the use of self facing mirrors reflects the object on all sides, producing a sense of infinity making the objects seem like they go on eternally and the room seem vast. The rooms have recently surged in popularity after Victoria Beckham visited the exhibition and shared her image on Instagram. This was followed by other influencers and then general public flocking to the exhibition to use the piece for their own personal backdrops.

First Hand Internal Views Of The Infinity Room

After visiting and examining the room, the findings show t h a t t h e r o o m i s n o b i g g e r t h a n 4 x 4 M e t e r s . F u r t h e r, looking at the axonometric produced below and the image analysis to the right, it is evident that not many o b j e c t s a r e n e e d e d t o p r o d u c e t h e e f f e c t o f i n f i n i t y. This particular room only used 20 lanterns to create this effect. The rooms also usually are very darkly lit, being less that 5 LUX. The contrast between the dark room and the highly saturated lanterns further accentuates t h i s s e n s e o f i n f i n i t y. The findings from this study will be implemented into the night-time mode of the Instagram moment, where I will use the darkness of the night to contrast with the artificial lighting in the Instagram moment.

Same Views Highlighting The Physical Lanterns In The Space Eliminating The Reflections.

Mirrored Walls

Lanterns

Black Mirror On Floors & Ceiling

Axo Analysing The Different Components Of The Infinity Room.

45


ATTEMPT AT AN INFINITY ROOM

D i g i t a l a t t e m p t a t r e c r e a t i n g a n e w v e r s i o n o f t h e Ya y o i K u s a m a I n f i n i t y R o o m f o r t h e I n s t a L i n e H i g h l i n e . H o w e v e r, a f t e r d i s c u s s i o n s w i t h t u t o r s , i t w a s advised to find a more creative use of mirrors in the project.

46


RECREATING A PANORAMIC VIEW

P a n o r a m i c V i e w To B e R e c r e a t e d

View Reflected Into Mirror Backdrop

Reflection Captured On Phone In Selfie

Section Showing How The Mirrors In Project Would Work

R e f l e c t e d V i e w I n M o d e l C o l l a g e d To g e t h e r To R e c r e a t e P a n o r a m a

Plans Of The Rotation Of Model

Following on from the initial digital experiments with infinity rooms and mirrors, a discussion with tutors and engineers advised that for a project about Instagram, it would be beneficial for the InstaLine project to find a more creative use of mirrors rather than just to reproduce an infinity room. One of these ways was to use mirrors to reflect one of the most iconic skylines in the world, that m i l l i o n s a i m t o c a p t u r e a n d p o s t e v e r y d a y. H o w e v e r u n l e s s y o u - r e s o m e w h e r e u p h i g h , t h e c h a n c e s o f capturing this skyline are bleak. As such, the Instagram moment, which rotates based on the sun, taking inspiration from the Wes Jones r o t a t i n g N A S A M e m o r i a l a n d Ya y o i K u s a m a I n f i n i t y R o o m s , i m p l e m e n t s a s e t o f 6 t a l l a n g l e d m i r r o r e d panes which reflect different views of the city at different times of the day based on the rotation of the moment, where the user can then pose in front of these mirrors and use them as backdrop, capturing both themselves and the city at the same time since the selfie is the most predominant image posted to Instagram. For the experiment pictured above, the view captured was from Greenwich Hill rather than the actual view seen from the site due to inability to access the site. However the principles tested would remain the same when applied to the project on site.

47


CHAPTER VII Studio Roosegaarde UV Paint Glow In The Dark

49


CASE STUDY 3 STUDIO ROOSEGAARDE - GLOWING LINES

Glowing Lines is a part of a Smart Highway project by design practice Studio Roosegaarde where the markings on the road are replaced with phosphorescent lines. These Glowing Lines charge during day-time and glow at night for up to 8 hours to create an iconic h i g h w a y e x p e r i e n c e a n d i n c r e a s e s a f e t y. T h i s r e d u c e s t h e n e e d t o a r t i f i c i a l l y l i t r o a d s which is both good for the environment and costs of public infrastructure.

50


H O W G L O W I N G L I N E S & P H O S P H O R E S C E N T PA I N T W O R K S

Day Time:

The Sun Charges Glowing Lines During The Day

-

The Glowing Lines Gain Energy Whilst Charging From The Sun

The Glowing Lines Are Fully Charged

The Intensity Of The Released Light Isn’t As Strong As In T h e N i g h t T i m e D u e To I t S t i l l Being Bright

As The Sun Sets, The Intensity Of The Glowing Lines Gets More Powerful

As The Night Goes On, The Glowing Lines Lose Energy & I n t e n s i t y. H o w e v e r T h e y S t i l l S l i g h t l y R e c h a r g e D u e To O t h e r Light Sources Like That From The Moon

After Roughly 8 Hours In The Night, The Glowing Lines Have Lost Most Of Their Charge And Only A Faint Glow Remains D u e To T h e E n e r g y G a i n e d From The Moonlight

Sun Set:

As The Sun Sets, The Glowing Lines Release A Small Amount O f L i g h t & E n e r g y. T h i s I s Q u i c k l y R e c h a r g e d D u e To There Still Being Sun Night Time:

Once Dark, The Intensity of The Glowing Lines Is At Its Most Powerful

51


52


TESTING PHOSPHOROUS PAINT UV Paint

UV Paint Mixed With Neon Paint With this experiment, the aim was to experiment with phosphorus paint and see how it reacts with different materials. The materials chosen were acrylic, timber and polycarbonate. A second test was done to see if mixing the UV paint with plain neon paint would produce a reaction which it did. A third experiment was intended to be done, to explore how long the UV paint glows f o r, h o w e v e r, t h i s w a s n ’ t p o s s i b l e a s t h e paint didn’t glow for more than 10 minutes and constantly needed to be “recharged”. H o w e v e r, t h i s c o u l d b e d u e t o t h e l o w q u a l i t y UV paint used in the experiment. Tr a n s l a t i n g this into the project, the polycarbonate material coated in Plain UV paint could be used as part of the ribs in the night mode scene within the Instagram moment. However the main problem with using the UV paint is that it requires complete darkness, as such, this may not be the best fit for the project as even during the night mode of the space, it still needs to be illuminated so that users can take photographs and selfies inside. As such, the ribs need to be redesigned and instead use a LED strip running along the centre of the rib. Acrylic

53

Timber

Polycarbonate


CHAPTER VIII James Turrell Ganzfeld Effect Lighting

55


CASE STUDY 4 JAMES TURRELL - THE LIGHT INSIDE

Fig X: The Light Inside - James Turrell

Fluorescent lights that are hidden in the ceiling and under walkway to illuminate the walls Panels that block strobe lighting behind to produce a glowing outline Raised walkway and lowered ceilings that hide lighting produce narrow tunnel Curved wall that helps produce Ganzfeld effect and make the colour seem infinite

56


Frosted glass wall with lighting around edge of glass to provide the glass with a glow and illuminate the glass

Raised walkway and lowered ceilings that hide lighting & produce narrow tunnel

Curved wall that helps produce Ganzfeld effect and make the colour seem infinite

Fluorescent lights that are hidden in the ceiling and under walkway to illuminate the walls

Strobe lighting behind panel that helps produce glowing outline

T h e L i g h t I n s i d e i s a n a r t i n s t a l l a t i o n b y a r t i s t J a m e s Tu r r e l l w h i c h d e b u t e d a t t h e M u s e u m O f F i n e A r t s i n Te x a s . T h e k e y i n t e r e s t s t a k e n f r o m t h i s a n a l y s i s w e r e t h e w a y that the space is lit, using hidden lights under and above the walkway to illuminate the walls and room, making it seem like the user is walking through an infinite tunnel of light, with light spanning in all directions. This infinite effect of light was also achieved using the ganzfeld effect, where the walls are given are gradient and curve to them as to blur the edges and remove any corners. This helps produce the effect of infinity and disorientates the senses of the user walking through. The aim is to use these findings within the instagram moment to produce a backdrop of infinite light for the guests visiting during the night.

57


CHAPTER IX Conclusion

59


Day Mode

Night Mode


The InstaLight project was a technical dissertation that had a main focus on light with the aim to recreate the ideal lighting conditions. By carrying out an indepth technical report and investigation I was able to influence the design of the Instagram moment heavily. Changing it from what started of as being a replica of a Yayoi Kusama infinity room into a space that reflects the city during the day and creates an immersive user experience at night.


CHAPTER X Technical Drawings

63


1-100 Day Mode Long Section

2 1

4 5

View From Site

3

View Being Reflected

22

11

23

24

12

13

6 7

14

8 9 10

25 16

1. Tension Cable For Rotating Mirror 2. Motor For Tension Cable Pulley Lift 3. Weight For Tension Cable 4. Fixed Mirror 5. Rotating Mirror 6. Light Rib Coated In UV Paint With LED Strip 7. Light Rib Support On Wheels 8. Moving & Rotating Mirror Support 9. Moving Mirror Track 10. Steel Ibeam Grid For Clip On Art Components 11. Selfie Podium 12. Picture Taking Platform 13. Main Highline 14. Composite Concrete Floor 15. Highline Steel Column 16. Instagram Moment Column 17. Rotating Turntable Grid 18. Turntable Motor 19. Turntable Track & Wheels 20. Foundation 21. Pile Foundation 22. Lighting Rig 23. Lightbox With Adjustable Colour Temperature 24. Mirror To Camouflage Light Rig 25. LED Panel Light

17

20 18 21

19

15


1-100 Night Mode Long Section

2

1

3

4

5 C C

22

11

6

24

12

13

D

7

14

8 9 A 1. Tension Cable For Rotating Mirror 2. Motor For Tension Cable Pulley Lift 3. Weight For Tension Cable 4. Fixed Mirror 5. Rotating Mirror 6. Light Rib Coated In UV Paint With LED Strip 7. Light Rib Support On Wheels 8. Moving & Rotating Mirror Support 9. Moving Mirror Track 10. Steel Ibeam Grid For Clip On Art Components 11. Selfie Podium 12. Picture Taking Platform 13. Main Highline 14. Composite Concrete Floor 15. Highline Steel Column 16. Instagram Moment Column 17. Rotating Turntable Grid 18. Turntable Motor 19. Turntable Track & Wheels 20. Foundation 21. Pile Foundation 22. Lighting Rig 23. Lightbox With Adjustable Colour Temperature 24. Mirror To Camouflage Light Rig 25. LED Panel Light A. Detail 1 B. Detail 2 C. Detail 3 D. Detail 4

23

10

25

B 16

17

20 18 21

19

15


1-5 Detail 1 - Moving Mirror & Track

1. 30mm Marine Plywood Board 2. Thin Coat Of Heavy Duty Titebond Adhesive 3. 5mm Highly Polished Stainless Steel 4. 20mm Thick 200mm x 200mm I Beam 5. 20mm Nut & Bolt 6. Metal Plate Bolted To Timber Spacer 7. Weld 8. 40mm Steel Base 9. 10mm 316 External Grade Tension Cable 10. Tension Cable Clip 11. Long Shank Collared Eye Bolt 12. Steel Plate For Castor Wheel 13. 100mm Heavy Castor Bolt Fix Cast Iron Wheel 14. Steel Cast Track 15. Main Beam 16. Cross Beam

1

4

2 3

5

8

6

9

7

10

11

12 13 14

15 16

Long Section


1-5 Detail 1 - Moving Mirror & Track

1

2

3

4

5

6 7 8

9 1. 20mm Thick 200mm x 200mm I Beam 2. 20mm Nut & Bolt 3. Metal Plate 4. Weld 5. 40mm Steel Base 6. Steel Plate For Castor Wheel 7. 100mm Heavy Castors Bolt Fix Cast Iron Wheel 8. Steel Cast Track 9. Main Beam 10. Cross Beam

10

Short Section


1-5 Detail 2 - Lighting Rib & Track

1 2 3 4

5 6 7 8 9 10 11

12

13

Short Section

1. Capped Clip 2. 10mm Screw 3. Pulled Fabric Clamped between Polycarbonate Rib & Steel Box Beam 4. LED Light Strip 5. Steel Cover For Rib 6. Polycarbonate Rib Coated In UV Paint

7. Steel Box Beam 8. Steel Plate 9. Steel Plate For Castor Wheel 10. 50mm Heavy Castors Bolt Fix Cast Iron Wheel 11. Steel Cast Track 12. Cross Beam 13. Main Beam

Long Section


1-5 Detail 3 - Mirror Hinge

1 2 3

4 5

6 7

8 1. 20mm 316 External Grade Tension Cable 2. Tension Cable Clip 3. Long Shank Collared Eye Bolt 4. Thin Coat Of Heavy Duty Titebond Adhesive 5. 5mm Highly Polished Stainless Steel 6. 40mm Marine Plywood Board 7. Hinge 8. Nut & Bolt 9. 20mm Thick 200mm x 200mm I Beam

9

Long Section


1-5 Detail 4 - Podium

4 5 1

6 7

2

3

8 9

10

11

1. Black Non Slip Vinyl Flooring 2. Thin Coat Of Heavy Duty Titebond Adhesive 3. 40mm Marine Plywood Board 4. Nut & Bolt To Hold Plywood To Scaffolding 5. Bolt Going Through Alvin AO8-6 Sleeve Joint 6. Alvin AO8-6 Sleeve Joint 7. Scaffolding 40mm Tube 8. Alvin AO4-6 Long Tee 9. M10 ThruBolt 105 Hot Dip 10. Attachment To Attach Light To Scaffolding 11. Vibesta Capra20 Bi-Colour LED Panel Light

Long Section


Profile for andrius.maguskinas

INSTALIGHT  

A Technical Study Into Light & Architecture

INSTALIGHT  

A Technical Study Into Light & Architecture

Advertisement