照明設(shè)計(jì)的重要性

文/圖：基思·布拉德肖（Speirs + Major負(fù)責(zé)人）

介紹

如果考慮到照明設(shè)計(jì)，大多數(shù)人往往會(huì)自然而然地想到夜間照明，或是提供充足的光線來觀看事物。但是當(dāng)你考慮到光會(huì)塑造我們對(duì)世界的體驗(yàn)，并影響著我們的感受時(shí)，你會(huì)開始意識(shí)到照明設(shè)計(jì)其實(shí)更為廣泛且更加有趣。

考慮到人們?cè)隗w驗(yàn)照明設(shè)計(jì)所產(chǎn)生的預(yù)期影響后，Speirs + Major開始設(shè)計(jì)建筑照明項(xiàng)目。以光來塑造建筑的體驗(yàn)感受，并思考如何利用光照來增強(qiáng)建筑或公共空間的特色與形象，由此角度來對(duì)我們的設(shè)計(jì)方案進(jìn)行處理。同時(shí)，我們也始終關(guān)注一切與照明相關(guān)的能源、維修和安全問題。

在長期處理照明的過程中，我們逐漸意識(shí)到光也許是一種人們難以理解的媒介。你看不到光——僅能看到它與材料相互作用的結(jié)果。你不能準(zhǔn)確地描繪光的特質(zhì)——但你知道光能夠塑造出事物的形狀和空間，并使事物的表面或空間變得鮮活。你了解光的物理屬性，但僅限于光影響我們感受的獨(dú)特能力。

我們從基本原則上研究光。認(rèn)真觀察自然光的優(yōu)勢，并與建筑師及設(shè)計(jì)師一同致力于盡量保留其優(yōu)勢。接下來，我們考慮增加人造光——但僅限于必要的事物和地點(diǎn)。在設(shè)計(jì)中，黑暗和陰影同光一樣重要。

在用光進(jìn)行設(shè)計(jì)時(shí)，我們可以選擇要展現(xiàn)的建筑物、結(jié)構(gòu)或空間的方式和內(nèi)容，以及想要隱藏的事物。這讓我們創(chuàng)造了欣賞和體驗(yàn)建筑及空間的新方式，這是展現(xiàn)項(xiàng)目核心設(shè)計(jì)價(jià)值的獨(dú)特機(jī)會(huì)。

事實(shí)上，由于光的存在，人們會(huì)對(duì)項(xiàng)目及其開放空間可及性產(chǎn)生全然不同的觀點(diǎn)，因而光可以成為公共空間關(guān)鍵的品牌體驗(yàn)之一。

當(dāng)我們有技巧地處理光照時(shí)，人造光的設(shè)計(jì)也平衡并協(xié)調(diào)了建筑物、空間和地點(diǎn)對(duì)光照似乎有迥然不同的要求。在綜合用途開發(fā)中，用戶可以工作、睡覺、吃飯、購物和娛樂；為了不影響游客的體驗(yàn)感，這些活動(dòng)均對(duì)照明條件有極高的要求。燈光可以依照各種體驗(yàn)進(jìn)行定制，我們?cè)谝雇砗鸵恢艿臅r(shí)間內(nèi)精心控制燈光并使其發(fā)生變化——使訪客可多次返回并增加其駐留時(shí)間。

那些無法單獨(dú)看到光照，而光照卻模糊了地域特征與人們感受之間的界限，往往是最為成功的照明設(shè)計(jì)項(xiàng)目。相反，粗劣的照明設(shè)計(jì)會(huì)立刻顯現(xiàn)出來，并且具有視覺破壞性。然而，正如多數(shù)被人們視為輕松且自然的東西一樣，光照也同樣需要我們深思熟慮、付出努力，并親身體驗(yàn)才能變得“恰到好處”。

光

光是一種神秘且神奇的媒介。它是不斷變化的。其速度為每秒186,282英里。光不為人們所見，卻使一切清晰可見。此外，盡管光越來越為我們所熟知，但它仍然令人難以捉摸。貫穿人類歷史，我們一直在努力控制夜晚，將白天延長；這種對(duì)光照的癡迷見證著我們通過多種照明技術(shù)，從利用火光照明的穴居人到當(dāng)今數(shù)字時(shí)代推崇LED照明的現(xiàn)代人的轉(zhuǎn)變?，F(xiàn)在，人造光已成為空間體驗(yàn)的基本條件，大多數(shù)人對(duì)此習(xí)以為常。

近年來，LED技術(shù)的出現(xiàn)帶來了巨大的變化——照明行業(yè)已成為電子行業(yè)的一部分。與其他光源相比，LED技術(shù)具有更長的預(yù)期使用壽命和更低的能耗，因此其本質(zhì)上更易于管理、監(jiān)控和操控。然而，由于照明成為了電子工業(yè)，一些不易維修的相關(guān)部件的市場需求也容易對(duì)其產(chǎn)生影響。電子產(chǎn)品不耐高溫、低溫和潮濕等極端條件。作為設(shè)計(jì)師，我們必須注意，所選擇的燈具需充分保護(hù)LED技術(shù)，以便燈具能達(dá)到室內(nèi)和室外的使用要求。

方法

一個(gè)遠(yuǎn)見卓識(shí)的顧客往往會(huì)促進(jìn)一個(gè)優(yōu)秀照明項(xiàng)目的產(chǎn)生。當(dāng)顧客能夠清晰地描述他們理想中的項(xiàng)目時(shí)，我們會(huì)深入了解其核心價(jià)值，并會(huì)考慮如何以光照來增強(qiáng)并放大這些價(jià)值。然后，我們會(huì)根據(jù)商定的簡單原則來逐步進(jìn)行設(shè)計(jì)。在每次設(shè)計(jì)審查中，無論是與設(shè)計(jì)師、同事還是顧客，我們會(huì)提醒每個(gè)人在參考已建立的核心項(xiàng)目原則時(shí)考慮提案的質(zhì)量。光容易被過度使用且效果不佳；我們以創(chuàng)造、謹(jǐn)慎、熱忱的態(tài)度致力于照明設(shè)計(jì)，我們?yōu)榇硕械阶院馈?/p>

最重要的是，我們以講述光的故事、述說光的情感作為工作核心。

然而，僅用語言來表達(dá)理念通常會(huì)帶來挑戰(zhàn)。我們往往用主觀化的言辭來描述光，并且每個(gè)人對(duì)光都有屬于自己的闡釋，例如閃爍或閃耀等詞語可能對(duì)不同的人有著不同的含義。我們發(fā)現(xiàn)通過促進(jìn)人們對(duì)于光的開放對(duì)話，我們能更好地理解哪些見解是有效的，哪些對(duì)我們的顧客和合作伙伴并無效用。我們會(huì)提出諸如“空間將如何使用？”、“人們感受如何？”、“空間的使用如何隨時(shí)間的變化而變化？”、“我們想要?jiǎng)?chuàng)造出什么樣的形象？”等問題。我們將這些問題的答案與研究分析結(jié)合起來，從而幫助我們確定照明方案。我們非常了解不同光源和燈具的質(zhì)量與細(xì)微差別，材料間相互作用的方式，以及它們?cè)鰪?qiáng)并改造空間及建筑與營造氛圍的方式，使我們開始將這些核心理念轉(zhuǎn)化為概念設(shè)計(jì)。

設(shè)計(jì)的視覺傳達(dá)是我們面臨的下一個(gè)挑戰(zhàn)，盡可能表達(dá)我們的理念并與顧客展開對(duì)話。我們以這樣的方式繪制、拼貼、描繪和模擬光照，使光的感覺為人們清晰理解，且不會(huì)因人們的討論而受到限制。我們創(chuàng)作藝術(shù)作品的故事腳本考慮周密，提供了以清晰設(shè)計(jì)原則為中心的實(shí)用信息。這些敘述有助于顧客和合作伙伴快速了解照明如何適應(yīng)項(xiàng)目功能要求及核心設(shè)計(jì)目標(biāo)。在我們看來，只有一種正確的照明方案。即使會(huì)有很多種方案，但照明的核心理念應(yīng)與項(xiàng)目有著內(nèi)在的聯(lián)系，即建筑理念的一種自然延伸。

我們相信，如果照明設(shè)置得恰到好處，建筑照明并非僅限于夜間；這會(huì)使人們?cè)鰪?qiáng)理解并向人們解釋，從而增強(qiáng)人們對(duì)建筑的體驗(yàn)感。白天，自然光均勻的照射將顯示出物體的表面和材質(zhì)。沒有任何物體的表面和材質(zhì)比光更為重要。只有材質(zhì)和表面修飾的選擇才能影響自然光照下人們對(duì)空間的理解。天黑后，我們能夠選擇由光照所展現(xiàn)的事物。我們可以決定去照射或不照射哪些物體表面或部分，由此幫助協(xié)調(diào)人們的體驗(yàn)感?？紤]到光照的平衡將如何吸引人們的注意力以及環(huán)境光線展示物體表面的方式。這些考慮因素有助于我們確定光照的組成，從而使光線和諧平衡。

使光線的組成和諧平衡，這涉及了許多方面，光源的選擇至關(guān)重要。選擇正確的光源時(shí)需要考慮許多變量：光的強(qiáng)度、白光的色溫，以及光線展示事物顏色、材料、紋理和顏料的方式。材料的選擇同樣重要，這需要我們與顧客和設(shè)計(jì)團(tuán)隊(duì)密切合作。與顧客和設(shè)計(jì)團(tuán)隊(duì)的交流至關(guān)重要，從而確保清楚地了解所選材料在人造光線下的樣子，我們應(yīng)考慮到人造光如何在白天進(jìn)行照明。通過測試和建立模型，檢查并調(diào)整光照。實(shí)物尺寸測試總能展示出意想不到的內(nèi)容，它們往往是評(píng)估光線影響的最佳方式，同樣也是改進(jìn)和解決綜合細(xì)節(jié)的最佳方式。我們對(duì)光和材料在生活中的真實(shí)印象的確無法取代。

作為工作室，我們往往傾向于盡可能隱藏人造光源；除了特征光源，它被用作項(xiàng)目設(shè)計(jì)語言的重要部分。這種方法使（發(fā)光）建筑處于優(yōu)先地位，防止明亮的光源分散人們的注意力，并使白天未開啟的可見光變得美觀。我們發(fā)現(xiàn)，當(dāng)照明設(shè)備精心裝置，與整體建筑的交付順序完美協(xié)調(diào)，我們會(huì)取得最佳的照明效果。如果經(jīng)過預(yù)先考量并對(duì)建筑進(jìn)行了詳細(xì)介紹，在器材和效果方面，光照將與建筑渾然一體。加入其他相關(guān)設(shè)計(jì)人員，以詳細(xì)的施工圖紙清晰確定項(xiàng)目的預(yù)期成果，由此設(shè)計(jì)團(tuán)隊(duì)和安裝承包商可共同協(xié)調(diào)以達(dá)成其預(yù)期成果。

在整個(gè)過程中，應(yīng)記住光具有不穩(wěn)定性。就其本質(zhì)而言，光依賴于與物體的相互作用，因此在項(xiàng)目過程中有許多方式可以影響照明設(shè)計(jì)，并改變光的質(zhì)量。高質(zhì)量的照明項(xiàng)目并不是一件穩(wěn)定的事情。如果光源出于成本需要進(jìn)行更改，如果建筑材料的選擇發(fā)生變動(dòng)或更改，或者若是項(xiàng)目在建造中存在缺陷，則光便會(huì)受到影響。我們一向?qū)ξ覀兊脑O(shè)計(jì)非常謹(jǐn)慎，直至完成；對(duì)我們來說，這通常是在項(xiàng)目開始之后。光線經(jīng)過調(diào)整、聚焦和設(shè)置，以提供原始視覺體驗(yàn)，項(xiàng)目才得以完成。實(shí)現(xiàn)這一目標(biāo)可能需要很多個(gè)小時(shí)甚至好幾天來進(jìn)行設(shè)計(jì)。精妙的調(diào)整可以將空間中的燈光從簡樸轉(zhuǎn)換為精美。在設(shè)計(jì)、合作和施工的過程，我們對(duì)光進(jìn)行監(jiān)測，仔細(xì)觀察，以保持可提供的預(yù)期照明條件。

摘要

光是最為特殊且超脫自然的媒介。它虛無縹緲且異乎尋常，讓人很難控制。光從不以相同的方式運(yùn)行——任何參數(shù)的最小調(diào)整都可以使相同的光看起來不同。我們相信人們永遠(yuǎn)不可能真正去主導(dǎo)光。我們只是臨時(shí)監(jiān)管光的質(zhì)量，采取行動(dòng)并促使其以自然的方式存在。我們發(fā)現(xiàn)，如果我們對(duì)光表現(xiàn)出足夠的尊重，并且從不認(rèn)為自己知曉一切，光便不會(huì)對(duì)我們有害并對(duì)我們有益。如果對(duì)光的處理不當(dāng)，通常情況下它可能會(huì)具有破壞性，并產(chǎn)生很多問題，變得繁瑣且令人煩惱。

光是一種存在于物質(zhì)世界中的媒介，雖然光往往瞬息萬變。我們每天與光一同生活，但多數(shù)人都對(duì)其知之甚少。作為照明設(shè)計(jì)師，我們長期致力于此，并試圖控制光照與物理空間的聯(lián)系。更基本的是，我們了解人類心理學(xué)和生理學(xué)，與光明、黑暗和地域情感之間存在著深刻的聯(lián)系。出于這些認(rèn)知，我們?cè)噲D在光照中設(shè)計(jì)出意義非凡的體驗(yàn)——這是我們持續(xù)面臨的挑戰(zhàn)，通常會(huì)取得成功，但依然常懷敬意。光：自從我們第一次擊退黑暗，出現(xiàn)了一種超高速的神秘現(xiàn)象，它與建筑的關(guān)系使人類為此著迷。

lntroduction

Most people, if they think about lighting design at all, naturally tend to think about illuminating things at night and the provision of adequate light to see by. But, when you consider that it is light that shapes our experience of the world, while also in fl uencing how we feel, you begin to appreciate that the design of lighting is a much broader and more interesting concern.

At Speirs + Major, we begin all our projects with consideration for the impact we want to have on the people who will use the spaces we light. We approach the design from the point of view of crafting the visitor experience with light while thinking about how we can enhance the character and the image of the architecture or the public realm. We are also always mindful of the myriad of energy,maintenance and security issues that can be associated with lighting.

In our long experience of working with light, we have come to realise that it can be a very difficult medium for people to understand. You can't see light - only the result of its interaction with materials. You can't accurately draw the quality of light - yet you know it has the power to shape form and space and to make a surface or a space come alive. You can understand its physical properties, but can only touch upon its unique ability to in fl uence how we feel.

Our approach is to work with light from first principles. We carefully observe the bene fi ts of natural light and work with architects and designers to preserve as many of these qualities as possible. Next, we look at adding the arti fi cial light-but only what and where needed. Darkness and shadow have just as important a role to play in our designs as light.

When we design with light, we can choose how and what we reveal of a building,structure or space, and what we leave concealed. This gives us the means to create new ways of seeing and experiencing buildings and spaces, a unique opportunity to express something of the core design values of the project.

Indeed, light can be one of the key branding experiences of public spaces as it encourages a completely different view of projects and their open accessibility.

When handled with skill, the design of artificial light also provides the means to balance and blend the seeming disparate requirements of buildings, spaces and places. In a mixed-use development users will work, sleep, eat, shop and play； each of these requires the best lighting for the visitor experience. Light can be tailored to suit each experience, carefully controlled and varied through the evening and during the week - encouraging multiple visitor returns and increasing dwell time.

Often the most successful lighting projects are those where the light cannot be seen in isolation but rather contributes an indistinguishable part of the character and feel of the place. Conversely, bad lighting is immediately apparent and visually disruptive. However, as with most things that feel effortless and natural, it takes much careful thought, effort and experience to make the light feel ‘right’.

Light

Light is a mysterious and magical medium. It’s ever-changing. It travels at 186,282 miles per second. It is invisible but makes everything visible. Moreover, despite our ever-increasing knowledge of it, it remains elusive and intangible. Through the history of humankind we have worked to tame the night and extend the day； an obsession which has seen us move from the fi relight of the cave dwellers through multiple forms of lighting technology to the current wave of LEDs that characterise the digital age. Now, arti fi cial light has become so fundamental to our experience of space that most of us take it entirely for granted.

In recent years, the advent of LED technology has contributed to a dramatic change in which we have seen the lighting industry become a part of the electronics industry.With advantages such as longer life expectancy and lower energy use per lumen of light output compared to other sources of light, LED technology is inherently easier to manage, monitor and control. However, as lighting becomes an electronic industry, it also becomes susceptible to market demands for associated components, which are by their very nature harder to repair. Electronics do not like extremes of heat, cold and humidity. As designers, we must be mindful that our chosen light fi ttings need to be designed to protect the LED technology sufficiently so that they can reliably withstand the demands of being used both indoors and outdoors.

Approach

A great lighting project always begins with a visionary client. When the client is able to describe their ambition for their project very clearly, we gain a deep understanding of the core values and can consider how light can enhance and amplify these. We can then move through the design phases based on agreed, simple principles.At each design review, whether with fellow designers, peers or clients, we remind everyone to consider the quality of our proposals in reference to the core project principles that we have established. Light can easily be overused and poorly delivered； we pride ourselves on working with light creatively yet carefully,ambitiously yet practically.

Ultimately, it is the stories and emotions of the light that are at the core of our work.

However, verbally expressing these ideas can often present a challenge. The words to describe light are often subjective and open to personal interpretation, for example words such as gleam or glisten may have different meanings for different people. We fi nd that by stimulating open conversation about light, we get a much better understanding of what works and what doesn’t work for our clients and collaborators. We ask questions such as “How will the space be used?”, “How should people feel?”, “How may the use of the space change over time?”, “What image are we trying to create?”. We combine the answers to these questions with research and analysis to help us de fi ne the approach to light. Our wealth of experience in the qualities and nuances of different light sources and fixtures,the way these interact with materials, and how they can be used to enhance and transform space and architecture and create atmosphere enables us to begin to translate these core ideas into a concept design.

倫敦金融城總體規(guī)劃，英國倫敦City of London Masterplan, United Kingdom

The next challenge is visually communicating our designs. We use every means possible to express our ideas and open up dialogues. We sketch, collage, describe and model light in such a way that the sense of the light is clearly understood without being constrictive of open discussion. The artwork we create fi ts into wellconsidered storyboards that provide practical information centred on clear design principles. These narratives help our clients and collaborators quickly understand how the light will fi t the project regarding both functional requirements and the core design ambitions of the project. In our minds there is only one truly correct approach to the light. There may be many ways to deliver it, but the core idea of the light should be so intrinsically linked to the project that it is a natural extension of the architectural concept.

We believe that, when delivered properly, architectural lighting is not just what happens to a building at night； it offers the possibility to enhance the experience of the architecture by bringing added layers of understanding and explanation. By day,natural light reveals all surfaces and materials in an even-handed manner. No material or surface is more important than another. Only the selection of materials and surface fi nishes can impact on the way a space is understood in natural lighting. After dark,we have the opportunity to choose what to reveal. We can select which surfaces or elements should be lit, or remain unlit, and with that we can help to orchestrate an experience. We consider how the balance of light will draw people’s attention and how the ambient light will reveal the surfaces. These considerations help us to de fi ne the composition of light and in turn create a well-balanced lit impression.

Delivering this well-balanced composition of light involves many aspects. The selection of light source is of prime importance. There are many variables to consider when selecting the correct source of light: the intensity of the light,the colour temperature of white light, the way in which the light reveals colours,materials, textures and pigments. Equally as important is the selection of materials,which requires close collaboration with the client and design team. Dialogue is essential to ensure a clear appreciation of how the chosen materials will appear when lit by the arti fi cial lighting, which should be given as much consideration as the question of how they will appear during the day. Through tests and mock-ups, the light is checked and adjusted. Lifesized tests always reveal something unexpected,and they are often the best way to asses the impact of the light, as well as to re fi ne and solve integration details. There really is no substitute for the real life impression of light and materials.

As a studio, we have always preferred to conceal the source of arti fi cial light where possible； the only exception being feature light sources that are used consciously as an important part of the design language of the project. This approach allows the (luminous) architecture to take precedence, avoiding any distraction caused by the bright light source and the unsatisfactory look of an unlit visible light by day.We fi nd that we get the best results when the installation of lighting equipment is a carefully coordinated part of the overall delivery sequence of the building. When considered early and properly detailed into the architecture, the lighting, in terms of both equipment and effect, becomes a genuinely seamless aspect of the structure.By involving other relevant design members and clearly de fi ning the expectations of the project through detailed construction drawings, the design team and installing contractors can be fully ‘joined-up’ in their expectations.

Throughout the process, it pays to remember that light is fragile. By its very nature,light depends on interaction, so there are many ways during the course of a project that the lighting design can be impacted, and the quality of the light changed.Delivering a high-quality lighting project is a precarious activity. If the lighting sources need to change due to cost, if the choice of architectural materials shifts or changes,or if a project is built with imperfections, the light will be compromised. We take care of our designs all the way through to completion； for us, this is often after the doors of the project are open. Our terms for completion are that the light is adjusted,focused and set such that it delivers on the original vision. Achieving this may involve hours or evendays of finessing the design. Subtle adjustments can transform a space from simply lit to beautifully lit. Through the process of design, collaboration and construction, we act as guardians of the light, keeping a careful watch to try to preserve the conditions by which we can deliver the light we had intended.

Summary

Light is the most extraordinary, otherworldly medium to work with. It has ethereal and eccentric qualities that make it an amazing challenge to control. Light never behaves the same way twice - the smallest of adjustments to any parameter can make the same light appear different. We believe it is a medium of which one can never truly be a master. We are only temporary guardians of its qualities, acting to channel it and encourage it to do as it wishes. We fi nd that if we show light enough respect and never presume to know everything, it is kind and rewarding. If light is badly handled, as is often the case, it can become disruptive and problematic, fussy and frustrating.

Light is a medium that exists in the physical world, although its characteristics are impermanent and transient. We live with it every day, and yet most of us think and know too little about it. As lighting designers, we constantly work with it and try to control how it relatesto physical spaces. More fundamentally, we know that there is a deep connection between our human psychology and physiology, and light, dark and the emotion of a place. With this knowledge, we attempt to design meaningful experiences in light - a challenge we continue to undertake, mostly with success, but always with respect. Light: a super fast mysterious phenomenon whose relationship with architecture has fascinated humankind since we fi rst found a way to hold back the darkness.