Concrete Communities Event 004

This panel talk brought together a diverse mix of experts, including notable figures from architecture, lighting design, and photography - Paul Traynor, Sam Weller, Dr Junjie Huang, David Carqueijeiro, and Holly Hay, with Leanne Cloudsdale moderating the conversation.

Light as a silent storyteller

The panel discussion began with an exploration of light as a ‘silent storyteller’, considering reflections and professional insights. Through a series of personal stories, illustrating the profound way in which light invokes feelings and moulds our experiences.

David Carqueijeiro shared a memory of his childhood, growing up in Southern Europe and how he found discomfort with harsh, white ceiling light. Later, while studying architecture, he encountered a book discussing how light and darkness define spaces. "It talks about how light can change space in such a poetic sense that made me understand what I was feeling as a young boy," he shared. Photography, as discussed by Holly Hay, also relies heavily on light as a storytelling tool. By comparing Edward Weston's and Bruce Gilden's works, Hay pointed out how different lighting styles signal various emotional responses and contextual clues to viewers. "So the lighting...is giving you all these clues," she remarked, showcasing how light informs the narrative and emotional engagement with photographs.

Through narratives of this kind, the panel highlighted light’s dual role as a narrative tool and vibrant medium, shaping human experience and artistic expression.

The science of light

Diving deeper, the panel shed light on the scientific aspects, from the mood-altering effects of light temperatures to the therapeutic potential of bright light therapy for Seasonal Affective Disorder (SAD). Dr Junjie Huang discussed how bright light therapy, which simulates natural sunlight, can significantly reduce SAD symptoms by recalibrating the body's clock and boosting serotonin levels. Clinical trials have demonstrated that just 1-2 hours of daily exposure to a high-intensity light can recalibrate the body's internal clock, enhancing serotonin levels and, by extension, improving overall mental health. It’s clear from this brief exploration that light has a profound influence on our physiological and psychological well-being. The discussion highlighted the innovative ways light therapy is harnessed to address conditions linked to light exposure and circadian rhythm disruptions.

Cultural dimensions of lighting

The diversity of the panel lent itself well to discussing how light intertwines with global traditions. The conversation cast a spotlight on how cultures around the world interact with light, with a particular focus on the Scandinavian tradition of hygge. Living in Copenhagen and working as a lighting designer for the Danish brand HAY, panellist Sam Wellar shared insights into the significance of candlelight in Scandinavian culture, where its glow transcends mere functionality to become a beacon of warmth, togetherness, and well-being during long, dark winters. As a comparative, Wellar reflected on his experiences in Hong Kong where the subtle seasons stand in stark contrast to the pronounced seasonal shifts experienced in Scandinavia, potentially influencing why light is considered in a different way in these countries. This contrast might underpin the differing cultural attitudes towards light between these regions. Through his lens, it becomes apparent that the Scandinavian inclination for warm, muted lighting is not merely a matter of aesthetic preference but deeply rooted in the pursuit of hygge.

Architecture and lighting design

The intersection of architecture and lighting design unveils a fascinating narrative, particularly when examining the evolution of daylight's role through Modernism and Postmodernism. Feeling inspired from the day’s earlier tours of the University of Sheffield's Arts Tower and Park Hill flats, the panel were motivated to discuss this topic. Modernism, rooted in the early 20th century, emphasised large windows and open spaces to maximise natural light, reflecting a commitment to simplicity and connection with the outdoors. This design philosophy, rooted in the belief of daylight as a fundamental element for well-being and transparency, followed the vision of pioneers like Le Corbusier and Ludwig Mies van der Rohe. However, as architectural thought progressed, Postmodernism emerged with a critique of these principles, introducing a more nuanced approach that favoured diversity, historical reference, and intimacy. This shift saw a revaluation of window size and space segmentation, aiming to create environments that could evoke a spectrum of moods and experiences.

With the use of daylight consistently evolving in architectural design, design choices like window size represent more than just a stylistic preference - they signify more profound philosophical debates about human nature, technology, and the role of history and culture in shaping our built environment.

The critical role of specialised lighting design

Amidst the architectural discourse, the panel recognised the specific discipline of lighting design and its critical role in enhancing and complementing architectural spaces. Paul Traynor highlighted the evolving perception of lighting design and its importance; a discipline once hard to sell as a serious discipline is now considered more and more an integral part of architectural excellence. This change reflects a growing appreciation among architects for the nuanced interplay between light and space. For instance, residential and commercial environments cater to different needs and preferences, with warmer lighting creating cosy atmospheres at home and cooler tones fostering concentration in workplaces. It is clear how vital specialised knowledge in lighting design can be to achieve the desired effect in any given space, whether it's warmth and comfort at home or clarity and alertness in the workplace.

Daylight design

Delving into the practicalities, the management of daylight within architectural spaces presents both challenges and opportunities, particularly in the pursuit of sustainable design and daylight autonomy. Paul Traynor highlighted some of the complexities of working with direct sunlight, particularly the potential for glare. He discussed innovative solutions like light shelves to enhance interior light and automatic blinds that adjust to reduce glare. These strategies not only enhance the functionality and comfort of a space but also ensure compliance with regulatory standards for daylight exposure. Furthermore, lighting design considerations extend to open-plan layouts, where the balance between task and ambient lighting must be carefully managed. Enhancements to historic buildings also emerged as a theme, where the transition from single-fixture setups to more thoughtful lighting designs can significantly improve both functionality and aesthetic appeal. Sam was particularly taken by how Scandinavian countries often overcome older light fixtures placed through the use of a handy hook, "a little, simple, rudimentary device for directing where the pendant should go." These practical aspects underscore the intricate relationship between natural light management and architectural design, highlighting the continuous evolution of strategies to harness daylight's potential.

The 'big light'

Leanne Cloudsdale opened the second half of discussions by exploring the 'big light', asking the audience for a raise of hands in how many people use it to light their homes. With a resounding no from the audience, it became clear that this light is traditionally not associated with warmth or atmosphere. This sentiment resonated with the panel as they conveyed a collective hesitation towards embracing the 'big light'. Paul Traynor, with his expertise, echoes this reluctance, pointing to the uniform and flat illumination it offers. He suggests dim-to-warm LED lamps instead, advocating for lighting that can emulate the cosy glow of candlelight and, in turn, transform spaces into havens of relaxation and warmth.

The conversation on this piece took a thoughtful turn as David Carqueijeiro explored potential socio-economic dimensions of lighting choices, suggesting that our lighting preferences are often shaped by our environments and experiences. For those from less affluent backgrounds, the 'big light' might not merely be a matter of choice but a reflection of limited options and priorities. This insight invites us to consider how economic factors and life experiences influence our perceptions and decisions around lighting.

Highlighting the often-late consideration of lighting in home renovations, David comments on its transformative power: a well-lit space can feel complete even in the absence of furnishings. Holly Hay's experiences further enrich this dialogue, illustrating how personal encounters and relationships can expose us to new perspectives. While she gravitates towards low lighting for its intimate and calming effects, she acknowledges that others may experience dimly lit environments in a negative way.

Incorporating considered lighting design

For those looking to integrate some of these concepts into their own spaces, consider lighting with dim-to-warm capabilities to recreate the cosy ambience of candlelight, ideal for relaxation and warmth. Portable lighting offers a unique flexibility, "Previously we have all been stuck by the wire but now you have the full freedom you can control light where you want to put them and that really gives you the kind of freedom you need from." These small adjustments can significantly transform your living environment, echoing the experts' insights on the impactful role of light in design.

When asked about their own favourite lighting designs, the panel also shared their dream lights:

David: "The lamp I really liked the Arne Jacobsen AJ. I just really like what it represents. Arne Jacobsen was a functionalist and I think that one for me is the best example of when form follows function."

Paul: [the Louis Poulsen Artichoke] is an iconic fitting and Poul Henningsen was an amazing designer…, you'd have to get underneath it to see where the light source is and the Artichoke is this big sculptural object and it redirects light, reflects light in a very considered way. And you can't see the light source. So it's beautiful. And it's glare-free and you know its iconic."

Holly: "Controversially, my dream light is a big light. It's the FLOS Glo-ball. I have horrible kitchen lighting, which are those spotlights. Horrible. So my dream would be to get rid and have the FLOS pendant"

Junjie: "There is one lamp that I put in my garden actually. But I have lots of plants there. So it's shaped like a mushroom and it gives out a very warm kind of light but not very strong. So when you enjoy the daylight during the daytime and watch your plants growing but in the night time you can still enjoy that kind of thing with that lamp so I really like the shape. You know it's like a mushroom, it's like something growing."

Sam: "There's a lamp called the Parentesi... I'm a sucker for anything that's kind of analogue and mechanical and it's a very simple light that's very poetic, this kind of doing a lot with not a lot, if that makes sense. The cable is suspended from the ceiling with the weight. The weight creates tension in the cable and this kind of a parenthesis shape."

As the lights dimmed on Concrete Communities Event 004, the illuminating discussions shone a light on the multifaceted roles of light in our lives - from its silent storytelling to its architectural significance and cultural expressions. As we look towards the future of lighting design, it's clear that the dialogue between light and space, culture, and technology continues to inspire and challenge designers and inhabitants alike.

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