Emotion Light

Overview:

Light is a necessary and critical element of Art, Architecture, and Space. How can one perceive space without it? Shadow is equally important and together they allow for humans to maneuver through a space. Emotion is the way in which we respond to what we see, hear, smell, and feel within our surroundings. Psychologically, we are motivated to act based on what we see (in the case of our profession).

For several decades, the Landscape Lighting profession has not picked up on the fact that Emotion plays a much bigger part to humans. Unfortunately, most people consider it as nothing more than the excitement of when the lights go on and off, or when something looks aesthetically pleasing. Emotion covers a broad base of feelings, and each is distinct enough to describe. Light and Shadow have a great impact on this.

As Lighting Designers, we have the opportunity to better explore how to affect or evoke one’s Emotions. By doing so and by mastering the ability to provoke a specific Emotion, we can become excellent artisans within this craft. By doing so, we can provide for two (2) important human needs:

Human Well-Being and Health benefits.
Professional Relevance and Respect.

Emotion is a powerful tool that the Landscape Lighting Designer has to work with. If we can develop landscapes that positively stimulate a specific emotion, then we can ensure that these experiences are remembered. These “experiences” are what we need to strive for because they are desired (they feel good) and it will cause people to want to re-experience them. Physiologically, these positive experiences cause biochemical reactions that provide for our Well-Being, and this is why they are a benefit to humans. See Human Health page.

Affect :

The word, ‘Affect’ is one that is not normally used in the Landscape Lighting profession. It means “the Experience of Feeling”, and it is associated to the space we are in. As lighting designers, Light stimulates and arouses life. ‘Arousal’ is a physiological response closely linked to Emotion.

Arousal is characterized in two (2) ways:

Valence (positive vs. negative)
Strength (strong vs. weak)

Humans make decisions based on our environments and what we are exposed to. Being that sight is our primary sense; we must make decisions based on what we see or perceive. Our brain must decipher this input, as stimuli, and make a rapid response (decision) of how to react. Is the Arousal strong or weak, and is it positive or negative? All of this is determined in a split second, and it will trigger the appropriate emotional response.

Essentially, our Emotions drive one of three (3) Response Types that we can take: 1) to Approach, 2) to Avoid/Retreat, or 3) to Pause to question the space. Our choices are all based on our condition of safety.

Affective Lighting Design :

‘Affective Lighting Design’ is a term that Mark Carlson has chosen for the Landscape Lighting profession to use. It has been established for those Landscape Lighting Designers who can provoke a positive, emotional response through the illumination of an outdoor garden space.

In honor of Frank B. Nightingale (father or garden lighting), Mark wanted to continue what Frank initially began with his passion for the illuminated experiences. Not only did Mr. Nightingale provide for the art form, but he established it as a well-defined discipline.

It is for this reason that Mark created ELLI—to serve in re-establishing this art form as a discipline. As mentioned earlier, Design has been put at the bottom of the pile when it comes to professional development. However, this is no longer the case since ELLI’s inception. Mark has created an Advanced Level training program that uses this new term, Affective Lighting Design. He believes this is the future of our profession.

Outside of ELLI’s educational classes, there are no other direct paths to learning or advancing Landscape Lighting Design skills. This is the only form of “higher education” for this professional practice.

Design Discernment

Discernment—the quality of being able to grasp and comprehend what is obscure

Have you ever asked yourself, “How” a lighting designer might fail? Failure is a harsh word, so maybe it’s best to say, “not seeing” or “not being aware.” The definition shown above describes, what is obscure, and asks the question, “What are we missing?” How should the lighting designer take advantage of the qualities within a space? Here in lies the true challenge of discernment. Far too often we are rushed through the design process and miss the opportunities to ‘See’ what is in front of us.

As much as the landscape lighting trade has progressed in the past several decades, little has been done to establish standard practices and expectations in this artform. The high bar of expectation has been set at the lowest possible level because of a lacking authority and relatively no interest. However, ELLI is actively pushing this agenda so that lighting design and composition become that foundational standard. One cannot expect to achieve a positive outcome with regards to provoking emotion without developing this primary skill set.

Going back to the question, “What are we missing?” Lighting composition is the foundation to developing effective lighting design skills. ELLI intends to teach this so that it becomes the model to follow in the landscape lighting profession. This is the only way in which designers can advance to the highest level and to ensure a separation of skills—the ‘good’ from the ‘not-good.’

ELLI would like to quote the internationally recognized landscape architect, Mr. Laurie Olin, “If the majority of work is Ordinary, then the Extraordinary will be recognized.” This is so true, and part of our battle has to do with the lack of understanding most people have of our work—they do not know what is good or bad. By educating all parties, we can improve these practices.

Failure to Develop

There are several reasons of why lighting designers fail to develop. The following explain why this occurs:

Not Allowing Time to Understand – You must spend time in a space to absorb its quality and everything about it. Too many are hurried to just plot notes or ideas down on paper, take pictures and then, race to the next job. Most employers are pressing their designers to get in and out of the job quickly—‘time is money!’ Yet, this behavior hinders understanding. Many leave the job site and these qualities are still hidden or obscure.

Not Allowing the Mind to Think – The mind is a powerful tool, and if we allow it to work for us, we can gain incredible insights. One must question their senses—to allow the cognitive function to proceed, as we study our environment. What do we see, hear and feel within these spaces? If we are rushed and not relaxed enough to experience this, then we will limit this gathering of information. One must be patient.

Not Allowing for Growth — One should never settle for the ‘minimum’ standard or limited knowledge in order to just get by. This is Art and it should be treated as such. Another way to understand growth is in this statement by internationally recognized lighting designer, Howard M. Brandston, “Rules are a substitute to thinking.” Rules tend to hinder people from thinking outside of the box—we live in a world of average expectations.

Growth should be in the form of learning through experiences. It should also be in the learning to visualize. This visualization is the ability to ‘see’ in our mind, that which is not present in physical form. Unfortunately, most are not gifted with this ability, so it takes time and practice to develop.