The lighting design education was recently converted to a three-year bachelor program, from a two-year non-engineering track, in which students' group design exercises resembled a design studio process characterized by high uncertainty, self-anchored problem solving and creativity. Consequently, students who attends to this program is less disciplined in engineering which predominates other educational programs at the School of Engineering. The aim of this study was to map the Lighting design students' ability for a problem-solving approach and their ability of control in group design exercises to create a strategy for sustainable change, if necessary. The study employed a mix-method approach. In the quantitative data gathering, an online survey collected 18 students' responses using convenience sampling on locus of control. Additionally, this survey registered the student's perception on the experienced group design exercise in terms of how concrete (assignment-based) or open (problem-based) the design exercise was. The visualization of this data together with the locus of control measurement revealed that students in the first year (N=4) tend to be located centrally with no preference for problem solving approach. In the meantime, the second-year students (N=6) developed an open (problem-based) approach to problem solving, while their overall control in life is still more external. Finally, the trend for the students on the third year (N=8) move to a more assignment-based approach and more to an internal locus of control. The qualitative investigation involved three focus group interviews (N=13) emphasizing on the following themes: open/closed projects, control, the teacher's role, instructions, demands, realism in the projects, project size, project budget, project time, group dynamics, group size, group roles, leadership, personality, and conflicts. Results reflect a shift in confidence in the ability to exert control over one's own motivation and behavior in the group design exercise. The themes were also reflected in the content of the focus group interviews. Based on these findings and according to the adaptation and implementation of a CDIO's design-implemented experiences, the preparation for introducing small gains for students and staff members were proposed.

The relationship between distribution of light and spatial experience was studied using a temporary lighting installation in a real-life urban environment. A questionnaire, interviews and focus discussions collected the experiences of the illuminated space from 222 people. The following assumptions were confirmed: a clearly defined space created by illuminating walls and trees and visual limits contributed to a feeling of safety in the space because these limits helped establish an overall view of this space. A lower luminaire placement in the street contributed more to a feeling of safety than a higher luminaire placement because the light was closer to the person, highlighted the facades and made the space appear lower. The light topography, e.g., the luminaire height, is discussed in relation to power and spatial hierarchies. 

Light enables us to experience space. The distribution of light is vital for spatial experience but has not been the main focus of previous research on lighting. The lighting designer’s professional knowledge is to a great extent experience-based and tacit. With design practice as the point of departure, this thesis aims to explore spatiality and enclosure in relation to the distribution of light – with the intention of increasing subjects’ understanding of what can be regarded as a space, and to show how spaces can be shaped by the distribution of light. By focusing on users’ experiences and interpretations, relationships between the distribution of light and perceived spatial dimensions and experienced spatial atmosphere have been investigated. The main contribution of this thesis is to widen the base of knowledge that lighting designers, architects and customers can use as a common reference. This thesis is based on three studies: the Scale Model Study, the Auditorium Study and the Church Park Study. The thesis includes concept- and method development. The mixed methodologies comprise a range from introspective phenomenological observations to deep interviews and questionnaires. The experimental setups have also shifted from scale models to real-life interior and exterior settings. Consequently, a quantitative approach has complemented the mainly qualitative approach. Through artistically based research, patterns and relationships are dealt with in complex real spaces. The findings of these studies lead to a discussion of when, why and how patterns of brightness and darkness influence spatial perceptions of dimensions. The findings also show that brightness not only contributes to our experiencing a space as more spacious than it really is, but in certain situations brightness can actually have the reverse effect. Furthermore, darkness can contribute to a spacious impression, which has hardly been discussed in previous research. What subjects regard as a space may shift between the clearly defined physical space and the perceived space, which include light zones. Light zones can create a sense of inclusion or exclusion for subjects, which affects their sense of community and their feeling of safety. Light topography, e.g. the height of luminaire positions, as well as light direction influence the way we experience the private and the public. Enclosure can, if related to visible spatial boundaries, facilitate reassurance and safety.

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Hur påverkar belysningen hur vi ser och upplever rum? Att uppfatta rum visuellt är inte alls samma sak som att utgå från det fysiskt mätbara rummet. Är det ljus eller mörker som gör att en yta uppfattas ligga längre bort? Kan ljuset påverka den sociala dynamiken i ett rum? Hur kan man öka trygghetskänslan på en plats? Kan ett rum uppfattas som mer eller mindre rumsligt? Den här boken ger svar och stimulerar till nya frågor.

I boken varvas teori om perception, ljus och rum med praktiska tips om analysmetoder och skissteknik. Den ger grundkunskap i arkitektonisk ljusdesign men presenterar inga färdiga lösningar. Den uppgiften – att skapa ljusmiljöerna – är din!

The aim with this design research is to increase the understanding of lighting quality by supplementing existing illumination knowledge with visual evaluation of light distribution in three-dimensional rooms. This paper is based on a pilot study including observations of twelve different lighting situations in two comparable scale-model rooms. The discussion that follows focuses the relation between light distribution and experienced spatial atmosphere. The primary purpose with the pilot study was to investigate methods to observe, as well as to develop hypotheses, about spatial atmosphere experience in relation to light distribution. Additionally, descriptive concepts are formulated. Furthermore, the consequences for spatial atmosphere experience are discussed in terms of light-pattern, rhythm and the experience of being enclosed or excluded by the light-room. A main result is how light distribution seems to affect if a room is experienced as understandable or confusing, calm or active. Light patterns on walls and in the ceiling seem to be more important than on the floor, yet a light patched floor may have large impact on the whole room atmosphere. Moreover the findings indicate a relationship between hard or soft light contrasts and warm or cold colour experiences.

From a lighting designer perspective, it is of great interest to know if users will experience the final lighting design as it was in-tended to be experienced. Therefore, the purpose of this study was to interview the lighting designer in charge about his design intentions and compare this to the user’s visual observations. The investigation took place in a real-life university auditorium, where it was possible to monitor the lighting, made up of five different scenarios. 21 informants participated in the study. Combined strategies were used in a questionnaire with semantic scales and a verbal description. In addition to these, the inquiry was followed by in-depth interviews. How the various lighting scenarios affected experienced spatiality, size and shape as well as spatial atmos-phere were compared to the design intentions. Discrepancies between the observers’ spatial interpretations and the interpretation of spatial concepts are also discussed in relation to the lighting design.

This paper contributes to existing research by showing the influence of the distribution of light on the perception of a space. It addresses the importance of conceptual awareness and the impact of informants' possible pre-understandings. It combines and develops research methods that can accommodate the complexity of real spaces through patterns and relationships. Additionally, it includes concept development of spatial understanding. This primarily qualitative approach of dealing with complex spaces provides a new and unique contribution to the field of lighting research. This lighting design research consists of experimental studies within three different complex spatial contexts, from scale models to interior and exterior spaces. The importance of visual spatial boundaries and brightness patterns are discussed in relation to enclosure, perceived dimensions and atmosphere. It is more cost effective to make a space more spacious by changing the distribution of light than by changing the physical space through alterations. Light may generally have an enlarging effect, though sometimes it can have the opposite effect. This paper addresses how the placement of luminaires, the direction of light and the focus and spread of the light impact the perceived spatial dimensions and experience of atmosphere. A light zone can include as well as exclude participants. A focused light may call for attention, causing an audience to lower its speaking volume. Distribution of light is also useful for dividing a large office landscape into spatial units. The light topography—the upper boundary created by the heights of luminaires in a space—and light direction are factors of empowerment. A clearly defined, tangible space seems to also contribute to an experience of safety. Illuminated vertical surfaces can contribute to a clear overview and a clearly defined space that is experienced as having a sheltering and embracing effect.

Previous research showed that light distribution can affect the perception of spatial size and shape. However, most studies are limited to quantitative assessment of a few scenarios without explaining possible causes behind peoples’ experiences. This exploratory study aimed to reveal complex relationships between light patterns and perceived size, and to investigate how light patterns affect perceived spaciousness. A qualitative approach was used with pair-wise comparisons between systematic visual observations of scale models. The observations confirmed that illuminated walls increase spaciousness. Yet, darkness impacts the perception of spaciousness as well. Both compound and separated light zones can expand depth, height, or width, depending on the interpretation of these patterns of light seen in relation to the whole spatial context. Furthermore, the position of illuminated areas, with placements on edge or in the center, may additionally influence perceived size.

Spaces can be perceived as larger or smaller, according to how lighting affects the spatial boundaries. This is knowledge that can be used for changing the appearance of a desolate square or a cramped space. The following is a full-scale study of changing light scenarios that was conducted with 222 respondents in an urban space over five weeks. The study examines the effect of the spatial distribution of light and the placement of luminaires on our spatial understanding. A mixed methodology strategy, which combines pair-wise comparisons with qualitative interviews and a questionnaire, was used to examine the respondents’ perception of differences in spatial size and shape. The findings show that illuminated surfaces and objects, such as facades and trees, create a perception of increased or decreased depth, height and distance, depending on the spatial context and the respondent’s pre-understanding. Additionally, the perceived size of space was found to follow the height of the luminaires’ placement. This research study raises awareness of the impact of the placement of luminaires at varied heights, by developing the concept of light topography.

This study explore how distribution of light impacts perceived space. The purpose of this study was to gain a rich and deep understanding of the relationships that exist between distribution of light and spatial experience. In this research, spatial complexity is studied through a qualitative approach with a combined methods strategy. 21 informants answered a questionnaire and drew sketches, followed by in-depth interviews in a real-life auditorium with five light scenarios. The scenarios varied in light distribution, light level and light colour. All findings were triangulated in the final analysis. Surprisingly, a dark room appeared as more spacious when the spatial boundaries become unclearly defined. Simultaneously, findings indicate that bright walls can, in contrast to what most previous research suggests, contribute to a decreased spaciousness, if they become prominent enough. The results indicate a relationship between perception of increased width, caused by wall lighting, and reduced height, caused by indirect ceiling light. The experience of room size and spatial enclosure in relation to light distribution did not follow physical room boundaries. Furthermore, interview answers indicate that there can be a relationship between lighting and social interaction.

Uniformity of lighting for pedestrians is often assumed to have been achieved in mixed traffic environments when the lighting uniformity requirements for vehicular traffic have been fulfilled. Uniformity of lighting for drivers is commonly evaluated based on quantitative data on parameters such as overall luminance uniformity. However, methods for evaluating uniformity from the perspective of other road users are currently somewhat lacking. This study discusses qualitative and quantitative methods of assessing street lighting uniformity, and the potential implications for lighting design and the road users. We used convergence design and imbedded design based on two field studies. The research purpose is twofold: first, to study if, and how, measured lighting uniformity corresponds with visual perception. Secondly, to identify and explain the additional value that a combined method approach can contribute. The study considers examples of when the measured uniformity corresponds to visually perceived uniformity and when they do not correspond.

Lighting uniformity is a key factor in traffic safety, and it could even result in energy savings for light installations. However, highly uniform horizontal road lighting for motorized vehicles may not be optimal for pedestrian roads. Therefore, it is important to evaluate the way in which pedestrians experience road lighting uniformity. Accordingly, we employed a qualitative approach to examine pedestrian road lighting uniformity. Visual analyses were used to exemplify and discuss the perceived uniformity. The case studies were performed on three pedestrian roads with similar light installations. The results show that the experience of road lighting uniformity differs substantially between the three roads. Based on the case studies, there are many aspects that need to be considered beyond the light falling on the horizontal surfaces. This study suggests that the visual experience of road lighting uniformity for pedestrians is difficult to estimate with photometric values because the visual impact of uniformity is highly influenced by the spatial context and landscape.