The Performance of Light

Walton 1

The Performance of Light Callie V. Walton Texas Christian University College of Fine Arts Department of Interior Design and Fashion Merchandising Architectural Lighting Design Minor

ARLD 40513 Alyssa Stewart 19 February 2019

Walton 2 Architectural Lighting Design Research Paper: The Performance of Light Thesis Statement: The research of psychology factors and design disciplines behind the science of light, its technological advances, and design implementations relating to controllability, placement, color, intensity, and movement of light fixtures installed inside and outside of a performance hall can reveal its varying effects on the human experience, allowing lighting designers to positively alter and enhance an audience’s overall impressions of a show.

I.

Introduction A. Defining Space with Mood 1. Defining Components of Design a. What is Atmosphere b. First Impressions c. What is Emotion 2. Context a. Characteristics of Static Light b. Characteristics of Dynamic Light B. Problem Definition 1. Stage Lighting vs. Architectural Lighting Design a. Dynamic Design and Static Design 2. Dynamic environments as atmosphere creator 3. Dynamic Architectural Lighting Design in Performing Arts Center C. Research Design 1. Literature Study: Measuring the relationship between colored light and atmosphere perception

Walton 3 2. Literature Review: Measuring the relationship between spatial light distribution and perceived atmosphere 3. Literature Review: Measuring the relationship between dynamic lighting and perceived atmosphere II.

Method A. Precedent Study: Virginia Tech’s Moss Performing Arts Center 1. Context of Performing Arts Center a. Location and Design Goal 2. Analysis of lighting layout for Architectural Lighting Design 3. Stage Lighting Concepts 4. Adapting the Architectural Lighting Design to complement the Stage Lighting concepts 5. How the conceptual juxtaposition of visual components between Architectural Lighting Design and Stage Lighting benefit the audience’s initial impressions of a performance B. Precedent Study: Walton’s Performing Arts Center 1. Context of Performing Arts Center a. Location and Design Goal 2. Analysis of lighting layout for Architectural Lighting Design 3. Stage Lighting concepts 4. Adapting the Architectural Lighting Design to complement the Stage Lighting concepts

Walton 4 5. How the conceptual juxtaposition of visual components between the Architectural Lighting Design and Stage Lighting benefit the audience’s initial impressions of a performance C. Field Study 1. Context of Performing Arts Center a. Location and Purpose 2. Analysis of lighting layout for Architectural Lighting Design 3. Stage Lighting concepts 4. Adapting the Architectural Lighting Design to complement the Stage Lighting concepts 5. How the conceptual juxtaposition of visual components between the Architectural Lighting Design and Stage Lighting benefit the audience’s initial impressions of a performance III.

Results A. Analysis of the Architectural Lighting Design disciplines between the two precedents and field study 1. The impact of Architectural Lighting Design systems with a. Controllability b. Placement of fixtures c. Color d. Light intensities e. Dynamic Features

IV.

Discussion

Walton 5 A. What does dynamic Architectural Lighting Design do with the atmosphere perception B. What does dynamic Architectural Lighting Design do with the mood and emotion of an individual C. What are the benefits of using dynamic Architectural Lighting Design over static design in Performing Arts Centers V.

Implementing Research Design A. How to implement dynamic Architectural Lighting Design into Performance Centers 1. Technical feature requirements for Architectural Lighting Design systems to have a successful dynamic functionality in Performance Centers a. Examples of existing lighting systems 2. Fixture placement requirements for Architectural Lighting Systems to have a successful dynamic functionality for Performance Centers a. The difference between light fixture installations inside and outside Performance Halls b. Lighting layout template for inside and outside Performance Hall

Walton 6 Abstract: Architectural Lighting Design for Performance Art Center In today’s design industry, the architectural lighting design for performing arts centers has become more elaborate and innovative. Stage lighting, with its ground-breaking interactive qualities within performance centers, should have a cohesive relationship with the architectural lighting design throughout the rest of the building, by creating a connection between concepts and visual imagery in relation to the building and performing artist(s). By comparing relevant case studies, researching literature, and personally observing and analyzing field studies, this Architectural Lighting Design Thesis Research Paper will provide competent insight, knowledge, and research to utilize for future studies as well as aid in the implementation of proficient lighting systems for the benefit of educational institution performing arts centers. Compiling this research will aid in understanding how the science and technology of light can be implemented into educational institutes for performing arts centers. Analyzing the controllability, placement, color, intensity, and kinetic factors of lighting systems throughout a performance center enable designers to alter and enhance the human experience, positively influencing an audience’s overall impression of a show.

Walton 7 According to Dr. Richard Lazauras, an influential psychologist from the University of California at Berkeley, “an emotion is the result of a cognitive appraisal, which is a person’s assessment of the meaning of the current circumstances. These circumstances can be, for example, a certain environment, an event, but also a relation with others or a thought. If these circumstances are assessed as important for our wellbeing at that moment then an emotion is experienced. The intensity and type of emotion that we experience depends on the importance of the circumstance at that moment” (1021).

This general definition of emotion, in terms of a physical space, can better help one understand its place in architecture. Specifically, within the context of live performance centers, the types of emotion that production managers want to evoke from their audience are liveliness, positive energy, connectiveness, as well as engagement between the audience and the performers on stage.

First impressions are everything, especially when it comes to the theater of performing arts. As a designer, the beginning of a show starts as one enters the front door of a performing arts center. For more pronounced architectural buildings, the experience of a show starts at the first glance of a building’s exterior. If designers can find a way to provide the highest atmospheric quality to enhance the experience of the user, which in the case of the performing arts are donors and students within the education of fine arts, then they should go above and beyond to make it happen.

Atmosphere has a mentally and physically strong connection in association with emotion.

“Atmosphere can be described as the appraisal of an environment with respect to the expected affective effect. Hence, atmosphere is not an affective state, but it has the potency to evoke an

Walton 8 affective state in accordance with atmosphere” (Van Eyk vii). Atmosphere has a powerful meaning, especially within the context of designing the built environment. Designers are constantly trying to invent innovative solutions to benefit the human experience. Manipulating spaces within a building’s interior is one technique that designers found successful in conveying feelings of emotion to better enhance the audience’s experience. Within a building’s shell, lighting design plays the most important role in manipulating an atmosphere. Artificial light has infinite potential in the design world, as well as the capability to give objects existence through the connection of spatial forms. Within my architectural lighting research, I strategically combine the concluding results of many experimental studies to reveal valuable insight on how the effects of different lighting characteristics can alter atmospheric perception for the human experience.

CONTEXT So where does lighting play its role in an environment, and how does it influence the perceived atmosphere in a space? We can answer these questions by first understanding the science and qualities of static light, then analyzing and comparing its qualitative and quantitative characteristics of color temperature, intensity, hue, and spatial distribution. Lastly, by tying knowledge of these characteristics of static light together, we can analyze the effects of dynamic lighting. Dynamic lighting is a term used to describe flexible, kinetic lighting systems that allow the curator or design technician to control seamless changes in qualities of static light over time and can be adapted to the different needs and moods of an atmosphere to enhance the user’s experience. Intensity refers to the power of illumination from a light source, measured in foot candles and lumens, which can alter a light source’s brightness. Color temperature refers to the color qualities of a light source that range from warm (2800K) to cool (6000K). Spatial light

Walton 9 distribution of a light source refers to the distribution of the light from a single source, described as directional or diffuse. Directional light sources are sources with a small beam angle and no distinct beam. On the other hand, diffuse light sources have a large beam angle and no distinct beam (Van Erp 2).

Color temperature and intensity, when controlled together, can alter the architecture of a human’s biological clock, which is the natural rhythm of night and day that the human body responds to, and positively affect an individual’s emotion and mood (Walton 6). Hue, another lighting characteristic distinguished by colors relative to the dominant wavelengths of the visible spectrum, has a significant effect on the perceived color temperature (Bronckers, 2). This research indicates that analyzing and comparing the controlled effects of hues with color temperature is more beneficial to lighting designers in learning how to alter atmospheric perception.

Research Findings: Colored Light and Perceived Atmosphere In the first experimental design, 40 participants (20 women; 20 men) are placed in controlled rooms illuminated by light sources with diversified scenic settings in terms of color temperature, lightness, saturation, and hue. Initially, white light is analyzed by manipulating features of color temperature. Then, color temperature is further analyzed through the manipulation of saturation and hue. The comparative analysis between the three factors of static light will narrow down the prime component of light that alters the effect of the human experience in terms of atmosphere perception. The results of the experimental study are dependent upon the range of personal responses from participants, noted as coziness, liveliness, tenseness, and detachment (Bronckers, 9).

Walton 10 The results for the perceived atmosphere showed a significant effect between varied color temperatures of general white light. Warm white light is perceived as cozier, more tense, and more detached than cool white light. However, the effect of color temperature in white light depends on the hue of the spot. Warm white light combined with warm white spots is less tense compared to cool white light combined with cool white spots. In addition, the only change in interactive responses between color temperature (constant) and hue (controlled) conveys a sense of detachment when the hue is associated with green (Bronckers 29). The only descriptive term associated with lightness was liveliness, with responses showing that low lightness is perceived as less lively than high lightness. Interaction effects between saturation and hue showed a difference in atmosphere perception for saturation levels associated with hues of red, magenta, and green, while no difference in atmospheric perception occurred for saturation levels associated with hues of cyan and white. The results for hue revealed a significant effect on the four atmosphere dimensions. Red was perceived as the coziest, but also most tense and least detached compared to magenta, blue, cyan, green, and white. Yellow was evaluated as equally cozy as red and appeared the least tense. White was perceived as most detached and least lively in comparison to the other colors (Bronckers 29). Overall, the compiled results show that controlling each of the three qualities of static light, especially for the factor of hue, affected the participants’ mood. This research’s conclusive statement not only indicates that people are capable of matching color to atmosphere, but also that color and intensity can alter the perceived atmosphere.

Research Findings: Spatial Light Distribution and Perceived Atmosphere With knowledge that there is a positive correlation between the relationship of characteristics of colored light and the perceived atmosphere, one can assume from this

Walton 11 combined research that using colored light within performance halls can give the audience a more enhanced human experience during a show. This statement allows for further research on the spatial distribution of light and how it also has the capability to influence the perceived atmosphere. Within the same parameters of the previous experimental design with exception to a different focal analysis between spatial light distribution and perceived atmosphere, participants recorded their experience within rooms that were controlled with pre-determined light settings that compared directional and diffused lighting optics (Van Eyk 15).

Results showed that participants felt a livelier atmosphere for both the diffuse and directional light at high intensity compared to low intensity. A high intensity is less tense for the diffuse light, and the same trend was visible for the direction light. High intensity is more detached for the diffuse light at a high CCT and for the directional light. For both the diffuse and directional light, a high intensity is less cozy at a low CCT level. For the diffuse settings, a low CCT is cozier, less tense, and less detached than a high CCT. In addition, for a medium and high intensity, a low CCT is livelier. At low intensities both CCT levels are perceived as equally lively (Van Eyk 17). Directional light is perceived as cozier, livelier, and less tense compared to diffuse light at the same brightness (Van Erp 16). Overall, these concluding results show that participants can discriminate between different levels of intensity, CCT, and spatial distribution, and therefore are considered factors within lighting that have the ability to alter the perceived atmosphere.

Research Findings: Dynamic Lighting and Perceived Atmosphere The research findings on colored light, intensity, and spatial light distribution provide a strong basis of information in analyzing how static light affects an audience. By using the theories developed from analyzing the experimental studies with static light, we can apply that

Walton 12 knowledge to the use of dynamic light and its overall effect in performing art centers. In another experimental research study carried out by HH Wang, that continues the research from Broncker’s study of color and atmosphere as well as Van Eyk’s study of spatial light distribution and atmosphere, focuses on the study of atmosphere perception with dynamic lighting systems.

Within the experimental study, 20 observers participated in assessing the perceived environment under dynamic lighting conditions that varied in impacts of speed, saturation, and brightness.

The factor analysis is grouped within the same descriptive terms as the previous experimental studies, listed as: coziness, liveliness, tenseness, and detachment (Wang 664).

Results showed that dynamic lighting does have a significant influence on atmosphere perception. A more saturated LED light conveys a less tense, cozier, and livelier atmosphere perception. For the factor of speed, increasing its power generates a tenser and less cozy atmosphere, while medium speed offers the most lively and preferred atmosphere. For the factor of brightness, brighter lighting generates a less tense environment (Wang 672). Lastly, participants classified scenic settings as either suitable for a “living room” or an “office”. Results show that a more saturated color combined with a slower speed generates more of a living roomlike environment (Wang 671).

With the knowledge and insight from published academic resources that conclude colored light, spatial distribution, intensity, and dynamic characteristics can better enhance the human experience, stage lighting and architectural lighting designers can utilize this information to implement into their designs for the overall benefit of the performing arts center and the performance productions. All designers within a performing arts building should work together to engage their audience by blending conceptual lighting design with proposed scenic concepts throughout the entire building or institution.

Walton 13 Precedent Study: Virginia Tech’s Moss Performing Art Institute An environment within an educational performing arts center should embrace creativity, allowing their students to reach their full potential of self-expression. An important relationship for innovative designers, practicing within the field of educational institutes for performing arts, is between controlled lighting systems and the perceived atmosphere and how it can promote wellbeing and creativity in their students.

A precedent study that successfully implements these research findings of connecting people through lighting is Virginia Tech’s educational institute for their performing arts center, located in Blacksburg, Virginia. Richard Greene, the Regional Vice President of Virginia Tech, states “every space promotes collaboration among art, design, light, sound, music, and performance” (“Awesome Arts Center: Virginia Tech Builds Spectacular Center for the Performing Arts” 15). The extremely broad program utilizes lighting design to provide unique opportunities in varied spaces to create areas of collaboration that overlap many different fields of study. The performing art center’s lighting design represents fluid movement that connects the audience with the stage, further enhancing the audience’s experience of a show regardless of where they are sitting. The performance hall provides flexible state-of-the-art lighting systems paired with projection and audio technology to bring any show virtually to life.

To make the space feel more connected, linear light fixtures, which are vertically installed within each stage-facing side of the symmetrically-staggered extruded walls surrounding the entire

Walton 14 audience pit, wash the adjacent wall panels, highlighting the auditorium’s warm tones from the selected white oak finish. Continuing the warm tones, the wood work is finished with a natural 35-degree sheen to create a double curved wall panel flexible enough to achieve the complex curvature of the auditorium’s shell and adequately reflect and scatter light as well as sound ” (“Awesome Arts Center: Virginia Tech Builds Spectacular Center for the Performing Arts” 14).

While there are many factors that promote flexibility and connection within the performance hall’s lighting design, there are a couple missed opportunities within the design that can better strengthen the performing art center’s atmosphere. For example, the inconsistent use between asymmetric and symmetric allocation of recessed downlights located above the balcony seats creates a sense of unbalance for the audience. Another example focuses on the sense of displacement from the overhead directional lights located in the ceiling of the auditorium in between the ceiling ribbons.

These lights could be replaced with sources of illumination mounted on the ceiling ribbons to give the ceiling more movement while still meeting lighting requirements. Another option could be to continue the wall washers mounted within the auditorium walls up onto the ceiling ribbons to connect all spatial platforms surrounding the stage within the entire performance hall. Overall, the Moss Arts Center provides a communal place where the arts are a catalyst for engagement, inspiration, and discovery and is a great representation of the design industry’s progression of designing performing arts centers.

Walton 15 Precedent Study: Walton’s Performing Arts Center Another precedent case study that successfully implements these research findings is the Walton Performing Arts Center, located in Northwest Arkansas. The use of materials and lighting systems gives this center a vivacious feel and connection to its urban community. The goal of the performance center’s latest renovation was to revitalize and expand the facility to create a welcoming, inviting environment, “knitting it into the community fabric and showcasing the vibrancy within” (“Walton Arts Center”). The new double height lobby, coated with soft wood textures, paired with the extended cantilevered porch form a prominent threshold for patrons and passers-by.

There is a sense of lightness, juxtaposed against mass with the selected warm gray pleated metal to compliment the remaining exposed brick exteriors. The lobby’s main decorative fixture pendant conveys a sense of vibrancy within the building’s interior as well as the exterior from the perspective of observing the building from the outside.

There are some missed opportunities within the Walton Performing Art Center’s lighting design, such as the lack of layered and balanced lighting within the lobby. The integration of architectural lighting design with its ability to highlight significant focal points within a space can better reveal the primary areas of passage for misled visitors of a building. One solution to this unbalanced lighting is to mirror the illumination from the wall washer behind the reception desk onto the bottom of the actual reception

Walton 16 desk to better highlight the main area of the lobby. Another missed opportunity includes the lack of connecting spaces within the lobby. A solution for this problem could be to extend the wall washer that highlights the wooden textures behind the reception desk along all wooden vertical surfaces featured within the lobby, including the stairs.

Field Study: The Bass Hall Performance Theatre While attending the Broadway show The Book of Mormon at the Bass Hall Theatre located in Fort Worth’s historical downtown district, I recorded my own observations of the building’s architectural lighting systems along with its features. I implemented my research of light by observing and analyzing the performance hall’s use of lighting systems that controlled intensity, color, space distribution, and dynamic effects in relation to the perceived atmosphere. I also noted how the stage and architectural lighting blends together in aiding the overall scenic concept of a performance.

The exterior of the building utilizes lighting systems to highlight the main entrance and architectural features, such as the 80’ diameter dome and the two 48’ tall angles that grace the Grande Façade (“Nancy Lee and Perry R. Bass Performance Hall Technical Specifications” 4).

The lobby’s main architectural lighting features included main sconces in the corridors, cove lighting that illuminated the detailed imagery in the entrance, and basic decorative ceiling mounted sconces for general lighting.

I was fortunate enough to gain the perspective of a spectator from the last row of the performance, enabling my experience to include a perspective located within a seat with a visual disadvantage.

Walton 17 The lighting on the perimeter of the balcony seats gives the theater an overall sense of movement and connection but lacks in continuing this consistent lighting detail for the highest balcony within the performance hall. This lack of attention to the farthest seats in relation to the stage gave my experience a sense of exclusion and detachment. In comparison to Virginia Tech’s performance hall, there was no vertical cove lighting within the walls to highlight the perimeter of the theater; there were only decorative wall and ceiling sconces for general lighting. On the other hand, the complementation between the architecture and scenic design is strong with the use of heavenly imagery from clouds presented digitally on the stage’s back wall and implemented within the architecture of the performance hall’s ceiling cove as painted clouds. Unfortunately, this cohesive design between the stage and architectural lighting was just a coincidence stemmed from similar concepts between the building and performance that night. Overall, the factors that include our modern-day advanced lighting systems and technology along with the financial capability of Bass Hall, a designer should want every performance to have this engaging and cohesive implementation of design for all performing artists.

Discussion and Implemented Research With the knowledge and insight from published academic resources that conclude colored light, spatial distribution, intensity, and dynamic characteristics can better enhance the

Walton 18 human experience, stage lighting designers can implement this information into their designs for productions that benefit the show. On the other hand, architectural lighting designers should switch their focus from the basic design disciplines of static lighting to flexible systems of dynamic lighting to control lighting systems that promote and convey more creativity and expressiveness throughout the entire educational performing institute. The various combinations of color, distribution, and intensity within flexible dynamic lighting systems can enhance, as well as reduce the perceived atmosphere, enabling these systems to accommodate and complement any production performing within an institute for performing arts. This knowledge can create a useful link between conceptual lighting design (within the stage and throughout the entire building) and the proposed scenic concept of the performance for architectural and stage lighting designers throughout the institution.

Walton 19 Works Cited “Awesome Arts Center: Virginia Tech Builds Spectacular Center for the Performing Arts.” Designsolutions, Aug. 2015, pp. 11–19.

Bronckers, X. J. “The effects of coloured light on atmosphere perception.” Eindhoven University of Technology. 31 Dec 2009.

Lazarus, Richard S. “Thoughts on the Relations Between Emotion and Cognition.” pp. 1019– 1024. American Psychological Association, Inc., Sept. 1982, gruberpeplab.com/3131/Lazarus_1982.pdf.

“Moss Hall Center for the Arts – On Site Woodwork.” On Site Woodwork, Design Solutions Publication. 2014. osw.io/portfolio/moss-hall-center-for-the-arts/.

“Technical Specifications: Nancy Lee and Perry R. Bass Performance Hall Technical Specifications.” Performing Arts Fort Worth, Inc., 10 Oct. 2018, pp. 1–35., www.basshall.com/globalassets/docs/techspec.pdf.

Van Erp, T. (2008). The effects of lighting characteristics on atmosphere perception.

Unpublished manuscript, Philips Research, Einhoven, the Netherlands.

Walton, V. Callie. “Light and Health: Healthcare Lighting Design for Hospital Rooms and Nurse Stations.” Texas Christian University. 10 November 2017.

“Walton Arts Center.” Schuler Shook, Schuler Shook, 14 Aug. 2018, schulershook.com/projects/walton-arts-center-1.

Wang, HH, et al. “A Study of Atmosphere Perception of Dynamic Coloured Light.” Lighting Research & Technology, vol. 46, no. 6, 2014, pp. 661-675.

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