Lighting design plays a critical role in shaping the ambience of a space and enhancing visual comfort. This week I read ‘How to Design for Visual Comfort Using Natural Light’ and ‘The Six Priorities Determine Where the Eye Looks First’.

Based on the ArchDaily article, I understand that visual comfort is determined by the following metrics: First, the Illuminance Level should match the function of the space, ensuring that there is enough brightness without overdoing it. Secondly, Luminance Contrast needs to be appropriate to avoid visual fatigue. Glare Control is also key, as too much light can cause discomfort. In addition, the Color of Light should be coordinated with the use of space, the choice of warm and cold tones will affect the mood and feelings of people. Finally, light distribution should be even, avoiding shadows or bright spots.

Peachpit’s article emphasises the priority of visual attention, which is also important in lighting design. Firstly, Movement attracts the most attention, so dynamic lighting directs the eye. Secondly, areas with a clear focus become the centre of vision, so highlighting a specific area or object by means of a spotlight, for example, can be an effective way of directing attention. Difference is also key, unique light and shadow effects or colour changes can attract attention. Additionally, areas of greater brightness are noticed first, so adding brightness to areas that need to be emphasised is a common technique. Size and In Front can also affect visual priority, with larger objects or elements in the foreground more likely to be noticed.

Taken together, successful lighting design requires comprehensive consideration of light intensity, distribution, colour and coordination with the function of the space, as well as using the principle of visual attention priority to subtly guide people’s eyes and create a comfortable and functional environment.

References:

https://www.archdaily.com/911210/let-there-be-light-key-indicators-to-describe-and-design-visual-comfort?ad_source=search&ad_medium=search_result_all

https://www.peachpit.com/articles/article.aspx?p=3089307&seqNum=2

Throughout the course, I have come to understand that lighting is more than just providing a source of light, it can also influence the ambience of a space, the user experience and the visual focus.

In this week’s lighting study, we visited and explored the lighting strategies of Edinburgh’s St James Quarter shopping centre and the Scottish National Portrait Gallery to discover how different types of spaces use light to shape a unique experience.

At St James Quarter, I found that the retail shops used ambient lighting to provide a uniform base light source and accent lighting to highlight specific items. For example, Zara and cos shops use warm white light to make the colours of their products stand out, while Superdry combines cooler lighting to create a more comfortable shopping experience. In addition, some shops (e.g. Aesop) use feature lighting, such as LED strips or chandeliers, to draw customers’ attention to specific areas. The colour temperature of the different light sources also affects the mood of the shopper and the brand’s image.

In contrast, the National Portrait Gallery of Scotland’s lighting is more focused on the work on display. The lighting in the gallery has been designed with illuminance and luminance contrast in mind, to ensure that the paintings contrast appropriately with the backdrops and that glare does not detract from the viewing experience. At the same time, natural light is strictly controlled to prevent UV damage to the artwork, while in some galleries, soft indirect lighting mimics natural light to bring out the best colours in the artwork.

From retail spaces to art displays, I learnt that lighting design is not only about brightness, but also about atmosphere. The proper use of light can enhance the functionality and emotional experience of a space, creating a more immersive visual environment.

The National Museum of Scotland offers a fascinating exploration of how light interacts with space and materials, shaping the overall atmosphere of the museum. As we moved through different galleries, we observed how natural and artificial light influenced our perception of exhibits and architectural elements.

One key aspect was how light reacted with different materials. In areas with glass and polished metal, light reflected and scattered, creating a sense of openness and brightness. Meanwhile, surfaces like wood and stone absorbed light, resulting in a warmer, more intimate atmosphere. Particularly in the historic sections of the museum, soft, diffused lighting enhanced the texture of aged artifacts, adding a sense of depth and history.

Light also played a crucial role in defining the atmosphere of different zones. In open atriums and central halls, large skylights allowed natural daylight to flood the space, creating a lively and dynamic setting. The contrast was striking in more enclosed exhibition areas, where controlled artificial lighting focused attention on specific objects, evoking a sense of mystery and contemplation.

Additionally, transitional spaces, such as corridors and staircases, demonstrated a gradual shift in lighting intensity. Moving from bright, naturally lit areas into dimly illuminated galleries heightened the sense of anticipation, guiding visitors through the museum’s narrative journey.

Ultimately, the interplay of light, material, and spatial arrangement in the National Museum of Scotland transforms it from a mere exhibition space into an immersive experience, where light is not just an illuminator but a storyteller, shaping the way we engage with history and culture.

Visiting the Chapel of Saint Albert the Great was an immersive experience highlighting the powerful relationship between light, space, and perception. As we observed the interior from different viewpoints, we noticed how the framing of the outside world changed—some windows offered narrow, focused glimpses, while others provided expansive, open views. This contrast shaped our understanding of the space, making certain areas feel intimate and enclosed while others felt connected to the outside world.

To further explore this relationship, we sketched the chapel’s light and shadow in black and white, focusing on how natural and artificial light interacted with the architecture. Strong contrasts appeared where sunlight streamed through windows, creating sharp, directional shadows, while artificial lighting produced softer, diffused illumination that shaped the space’s mood.

Finally, we measured the light intensity at four key points:

1. The darkest interior space, where minimal light creates a solemn, meditative atmosphere.
2. A spot near artificial lighting, where warm tones softened the surroundings.
3. A location near natural light, where daylight enhances the textures and depth of the space.
4. An exterior point, where the open sky provided the brightest illumination, contrasting with the chapel’s sheltered ambience.

This study deepened our appreciation of how light defines architecture, influencing both spatial perception and emotional experience.

In this workshop, we explored the impact of sunlight on architectural space through a series of simple but interesting steps.

First, we used pins to simulate global sunlight on white paper to intuitively understand how sunlight illuminates the earth and deduce the basic laws of sunlight. Next, we fixed the house model in Edinburgh and conducted a lighting test to observe the pattern of the sun changing with time and angle.

Then, we simulated the sunlight in Edinburgh at 10 a.m. on January 20th, adjusting the angle of the light source to allow light to shine into the model. To gain a deeper understanding of how light shapes the atmosphere of space, we observed inside the box and analyzed the impact of light and shadow changes on the internal environment of the building.

Finally, we used transparent paper of different colours to simulate coloured glass and test how different light colours affect the perception of space. Warm orange light creates a comfortable atmosphere, while cool purple light creates mystery and depth.

This workshop deepened my understanding of sunlight. It made me further understand that light is dynamic and it changes over time, thus affecting people’s perception of space.

National Taichung Theater is located in Taiwan, and designed by Japanese architect Toyo Ito. It is a building with curved walls as the main structural support. The building is composed of 58 curved walls and 29 caves. The spaces are of different sizes, separated and connected, forming a flowing space. The glass curtain wall and cement wall on the exterior of the opera house are shaped like wine bottles, so that we can see sunlight shining into the interior through the “holes” in the ceiling. The large glass curtains in the building and the space without obvious boundaries make the opera house an open building. Its purpose is to allow sunlight, air, water and sound to flow together in the theater.

(Photograph by myself)