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Psychology of Light: How Light Influences the Health and Psyche

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Light is the stimulus that influences most the human perception, but also the psychophysical well-being of the individual in everyday life. This paper analyzes the light from a psychological point of view, investigating the relationships between light-based emotions and behaviours, and the psy-chophysical responses to lit environment by the perceivers in different experiential contexts. Light becomes, therefore, " Cognitive Map " and " Emotional Driver " , but also a " Gestaltic Device " for the perceiver, in order to understand and interpret the external reality. Even the dark and lighting deprivation were considered, not only as environmental conditioning on the mood (Fusco, 2005a), but also through the psychological analysis of specific light manipulation techniques, such as " Sendep " and " Ganzfeld Effect ". Finally, some guidelines were shown to improve health and well-ness of the individual exposed to the light in a given environment (healthy lighting), getting to define an " Ecological " approach to light and lighting perception in human life, that would also involve some light-based techniques, such as Light Design and Light Art.
Psychology, 2015, 6, 1216-1222
Published Online August 2015 in SciRes. http://www.scirp.org/journal/psych
http://dx.doi.org/10.4236/psych.2015.610119
How to cite this paper: Tomassoni, R., Galetta, G., & Treglia, E. (2015). Psychology of Light: How Light Influences the Health
and Psyche. Psychology, 6, 1216-1222. http://dx.doi.org/10.4236/psych.2015.610119
Psychology of Light: How Light Influences
the Health and Psyche
Rosella Tomassoni, Giuseppe Galetta, Eugenia Treglia
Department of Human, Social and Health Sciences, University of Cassino and Southern Latio, Cassino, Italy
Email: tomassoni@unicas.it, giuseppe.galetta@unicas.it, e.treglia@unicas.it
Received 30 June 2015; accepted 2 August 2015; published 5 August 2015
Copyright © 2015 by authors and Scientific Research Publishing Inc.
This work is licensed under the Creative Commons Attribution International License (CC BY).
http://creativecommons.org/licenses/by/4.0/
Abstract
Light is the stimulus that influences most the human perception, but also the psychophysical well-
being of the individual in everyday life. This paper analyzes the light from a psychological point of
view, investigating the relationships between light-based emotions and behaviours, and the psy-
chophysical responses to lit environment by the perceivers in different experiential contexts.
Light becomes, therefore, Cognitive Mapand Emotional Driver, but also a Gestaltic Devicefor
the perceiver, in order to understand and interpret the external reality. Even the dark and lighting
deprivation were considered, not only as environmental conditioning on the mood (Fusco, 2005a),
but also through the psychological analysis of specific light manipulation techniques, such as
Sendepand Ganzfeld Effect. Finally, some guidelines were shown to improve health and well-
ness of the individual exposed to the light in a given environment (healthy lighting), getting to de-
fine an Ecological approach to light and lighting perception in human life, that would also in-
volve some light-based techniques, such as Light Design and Light Art.
Keywords
Psychology of Light, Light Perception, Light Design, Ligh Art, Lighting Psychology
1. Introduction
From a psychological point of view, talking about the light is like plunging into the depths of the psyche, but al-
so dealing with the limits and possibilities of the perceptive skills, natural equipment of the human psychophys-
ical apparatus, influencing our health and wellness throughout the life.
Light was analyzed not only by a perceptive point of view, but also as a driver of cognitive, emotional and
behavioural responses by the perceiver in different experiential contexts of everyday life. It showed that light is
a Cognitive Map able to guide and direct the individual in the exploration and discovery of the surrounding en-
R. Tomassoni et al.
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vironment, providing the interpretative keys of an increasingly complex reality.
Even the dark (i.e. the opposite of light) was analyzed, describing the effects of specific sensory deprivation
or light manipulation techniques on the neuro-perceptual sphere of the perceiver, that may be used for breaking
the individuals will, by changing the reality perception (such as in a war scenario), but also to increase the aes-
thetic enjoyment of the viewer, as in the case of Light Art installations.
From our perspective, the study of psychological effects of light and lighting on the individual should lead to
an overall ecologicalapproach to light perception.
2. Light as a Cognitive Map and Emotional Driver
Beyond the classical behavioural model of stimulus-response, the neuro-perceptive reaction mechanisms, and
the environmental adaptation by the perceiver, light may stimulate our perceptual apparatus through type and
range of exposure to a lighting source and its colours, inducing specific emotional states or behaviour in the hu-
man: this specific type of stimulus is able to excite, move, impress, communicate, heal and generate wellness,
creating a sense of harmony and syntony with the surrounding environment, like a home interior, a store corner,
an office space, or an exhibition wing of a museum (Birren, 1969a, 1969b; Flynn et al., 1973).
The strategic layout and modulation of lighting by light designers may influence the perceivers mood, creat-
ing a sense of calm and rest in a sacred environment (as a temple or a church), or add mystery and suspense to a
theatre performance on the stage, driving the eyes direction and the meaning attribution inside a specific
space-time context (Flynn, 1973): light is therefore an environmental cognitive map and a psychophysical
driver of human perception. The induction of specific cognitive and emotional responses by an individual ex-
posed to a light setting inside a domestic, architectural, urban, commercial, working, or exhibition space (e.g. a
museum or art gallery), but also into the natural environment (Kaplan & Kaplan, 1989), largely determined by
human neuronal asset and psychophysical equipment, is one of the most evident effects of the light, although
sometimes light designers, because of their focus on the functional or aesthetic values related to their lighting
projects, are not fully aware.
Within a home or working space, light is able to induceaccording to its intensity, saturation and modulation
specific emotional states, but also activate specific cognitive skills inside the perceiver (Flynn, 1977): dynam-
ism, relaxation, privacy, visual clarity, excitation, productivity, efficiency, but also stress, sleepiness, sadness,
agitation, restlessness, anxiety. The individual response by a subject exposed to the light is variable inside the
range between the extremes of a light source, that can be bright/dim, uniform/non-uniform, central/perimeter,
warm/cool: in short, it is possible to induce a change of the psychophysiological responses by the perceiver
through the alteration/modulation of the nature and typology of light stimuli within a continuum of variations,
allowing also the measurement of subjective impressions in lighting conditions (Flynn et al., 1979; Boyce, 2003).
Furthermore, the synesthetic possibilities of human perception, and the range of emotional responses by each
individual exposed to the light, grow ifbesides the impact generated by a light sourcewe also add a sound
stream, such as a piece of music. Moreover, colored light may evoke a tactile sensation in the perceiver (ac-
cording to the range of chromatic hue), manifesting itself in the form of perceived temperature, implementing
modalities of synesthetic perception in the human: in this way, the individual may be able to feelthe light
(Berry, 1961).
3. Light as a Gestaltic Device
On the basis of a psycho-cognitive approach, the environmental cognition, that is the basic need of human being
to give meaning to the surrounding environment, through the activation of mental processes about matching and
assimilation of stimuli coming from the external reality towards familiar and already known patterns that fall
within the subjects experiential sphere, allows to recognize the light as one of the primary factors of the process
of mental reconstruction, interpretative decoding, symbolic decryption and semantic reappropriation of the en-
vironmental space by the perceiver: light is, therefore, a device (natural or artificial) that supports the brainwor-
kofreconstruction and classification of reality by the viewer, setting the syntax rules of visual perception (Galet-
ta, 2014). This process of Gestaltic reconstruction about the surrounding environment through the light, which
involves simultaneously both the sensorineural sphere and the individual unconscious, is intended to bridge the
cognitive gap relating to a reality unknown by the subject, giving humans the correct interpretative keys about
the outer environmental space and the necessary answers to their security basic need, enabling them to overcome
R. Tomassoni et al.
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the instinctive and primitive defense mechanisms against the unknown, that may determine fear (instinct to es-
cape) or aggressiveness (instinct to attack): so, light helps to give meaning to the environment and drive the
process of interpretation of reality (but also adaptation to that), performed by a subject in a state of cognitive
uncertainty in order to controlling the external environment. But, at the same time, human being is also attracted
by a sense of mystery and complexity, that arises from the discovery of a new and unknown environment, being
inclined to prefer unconventionalsolutions, in which light, with its many shades and gradations, leads the in-
dividual through the process of exploration towards the unknown: paradoxically, light seems to hide, rather than
reveal the mystery, but just for this it attracts, involves, stimulates and fascinates us so much. While coherence
reassures, complexity fascinates us; but either way, light always drives our visual apparatus through the seman-
tic path of environmental information decoding, whether that comes from a domestic or working environment,
an architectural or urban space, a store corner, a building interior, or an exhibition space of a museum or art gal-
lery: light, and its perception by human, shapes the world (Lam, 1992).
According to the model of mental processing provided by each individual, based in part on his/her own neu-
ro-perceptual structures, partly on the subjective personality and unconscious drives, light stimuli (i.e. sensory
input) will be able to induce specific emotions, behaviours and mood (Fusco, 2005b, 2012; Fusco et al., 2011;
Tomassoni, 2014), as well as influence bodily and mental health, but also the level of aesthetic appreciation by
the perceiver towards a given environment, especially if the same viewer (and not the light designer) controls
the light source, that becomes a source of aesthetic pleasure or environmental enjoyment by the subject. Due to
the capacity of lightwhether natural or artificial, colored or fluorescent, evanescent or materialto induce
specific perceptive alterations within the sensory sphere of the human, the holistic, all-encompassing, and im-
mersive dimension of individual involvement is, therefore, the key to the effectiveness of any lit environment.
Light source, the energy that emanates from it, and the light-generated biopsychic effects, just become the focus
of all perceptual mechanisms and interpretative processes implemented by each perceiver: light has not only the
role to make visible an object for a viewer, but also to contextualize it within the environmental space. For ex-
ample, the location of an object within the environment, according to the angle of incidence of one or more light
sources, as well as the capacity of the object in absorbing and reflecting the light (luminous radiance or reflec-
tance), are capable of driving human perception and emotions, as well as influencing the bodily and mental
wellness (Collins, 1993).
As already noted by Arnheim (1954), by a perceptual point of view, human eye is not able to distinguish be-
tween the reflection power of an object and its real light emanation: eyes receives only the final result by a ges-
taltic impression, that is the intensity of light perceived within the visual field by the human: this is the reason
why a light-reflecting object seems to emanate a light of its own, as if this was an property inherent the object in
itself. Therefore, what influences the psychophysical viewers apparatus is the overall effect of the environment
exposed to a light source, together with the object positioning within a space context: Light Design takes advan-
tage of that cumulative effect, related to the sum of all the above factors (object + light + environment) to induce
specific emotions, behaviours and psychophysical feedbacks by the perceiver, influencing his/her health and
wellness. The so-called Light Art, for example, uses various types light sources (such as Neon, LED, fluorescent
lighting, and so on), namely objects emanating a specific luminous energy inherent to the same lighting devices,
but such energy (and its chromatic spectrum) is mixed to the items present on the set, appropriately positioned in
the environmental space to be able to absorb and reflect light energy in a precise exhibition strategy, in order to
produce an overall perceptual effect in the perceiver, exciting different emotions and behaviours during the indi-
vidual experience of aesthetic appreciation. In the case of realistic painting, light perceived within the depicted
scene is not a light energy inherent to the canvas in itself, but an analogical representation of the light handed
back by the artist through an artful use of colours, that are able to simulate light refracted by represented objects
and the surrounding environment, as they reflect the light of the exhibition space (or environment) in which the
artwork is positioned: house, public space, museum, art gallery, shop corner, factory, city and urban space.
4. Light vs. Dark: Sendep and Ganzfeld Effect
Even the dark, namely absence of light, contributes to organize and set out the surrounding environment, mark-
ing emptiness and fullness, presence and absence, given that it is the right light to make visible an object. At the
same time, overlaps and intersections generated by different light intensities, are able to create shadows and
depth, modulating feelings and emotions in the perceiver, who can read an object by different dark shades. At
the end, all the items will converge in a well-organized project, in a visual intelligible (and gestaltic) order, in
R. Tomassoni et al.
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which light scans reading, perception and interpretation times by the perceiver. Moreover, it must consider the
influence of light on the human beings biorhythms: in fact, human life is marked by the alternation of night/day,
dark/light, sleep/wake and work/rest rhythms (or circadian rhythms). According to light intensity, refractive in-
dex and wavelength of the electromagnetic radiation emitted by a light source, light determines the colour per-
ception of the objects inside a lit environment, influencing the mood and behaviour of people exposed (Veitch &
Newsham, 1998; Boyce et al., 2000).
The Sendep(i.e. sensory deprivation) or perceptual isolation, especially about light, has negative effects on
the human being from a neuropsychiatric perspective: in fact, it has been widely used in the military field as a
torture method, (such as the brainwashing), on war prisoners, as happened during Korean and Vietnam wars
(Solomon et al., 1961). A related phenomenon is the so-called Ganzfeld Effect (or perceptual deprivation), that
occurs when a constant and uniform light stimulus is used, instead of remove it: this leads to effects similar to
sensory deprivation: for instance, by submitting an individual to a uniform lighting (or flashes of light) for a
long time (Wackermann, Pütz, & Allefeld, 2008). It is no coincidence that the American artist James Turrell, in
the artwork series entitled Ganzfeld”, uses the properties of the fluorescent light to reproduce a feeling of es-
trangement and absence of depth field. The Ganzfeldsare defined by Turrell as sensing spaces, namely ho-
mogeneous perceptive spaces and visual fields that provide the viewer the disorienting experience of “fullness of
emptinessor horizons absence, enhancing the perception of real space and permitting the views of so-called
skyspaces. Through his art research about the control-based use of light, James Turrell (together with his col-
league Robert Irwin, and the perception psychologist Edward Wortz) explores the human perception processes
in controlled environments, in a state of alteration of perception, performing experiments about the total percep-
tual fields (Ganzfeld) and sensory deprivation, as a part of Art and Technology Program, established by the Los
Angeles County Museum of Art (in collaboration with scientists and engineers at Lockheed Aircraft, IBM and
Garrett Aerospace Corporation).
5. Lighting and Environment: Towards an Ecological” Approach to Light
Perception
Research about the relationships between lighting levels and colours by one side, bio-physiological and neurop-
sychological phenomena by the other, have shown that light influences biochemical and hormonal processes,
body temperature, mood, psychological well-being and electrical brain activity, influencing the neurotransmit-
ters (Mahnke & Mahnke, 1987): that is the reason why in the waiting rooms of public spaces (surgeries, hospit-
als, churches, airports, and so on) low lighting is used, accompanied by warm colours or pastel shades, in order
to induce relaxation and evoke a sense of protection and hospitality (for example, light green or blue); while, in
a production or competitive environment (such as the working space of an office, or a boxing or fighting ring),
marked by the dynamism of production rates, high lighting accompanied by colder chromatic temperatures is
able to stimulate a greater work efficiency and productivity, but also aggressiveness and competition (Tiller,
1990; Badia et al., 1991; Ginthner, 2002).
A great contribution to research about the Psychology of Light (or Lighting Psychology) was given by the
eyetracking studies, namely the engineering research on the eye movements involved in vision and decoding of
visual stimuli coming from the environment, which help to organize the overall perception of reality by the per-
ceivers at various complexity levels. These studies are also contributing to the improvement of Cybernetic Sys-
tems, Artificial Intelligence, Virtual Reality and Video Games, where light perception is simulated in a similar
way to that experienced in the reality by humans. In the perspective of a computational approach to aesthetics,
light may be considered as the inferential engine of the aesthetic quality of an object exposed to a light source:
in fact, the functional specialization of cerebral cortex has showed that the bioelectric signals transmitted to the
brain by the photoreceptors, namely neurons specialized in scanning the light photons, determine the aesthetic
quality of the reality perceived by humans, demonstrating the correlation between perceptual processes and vis-
ual brain (Zeki, 1999, 2008). Light Art and Light Design are creating the perfect fusion of scientific technology,
art research and aesthetic perception: this is obvious if we consider the flexibility and versatility of Neon light,
that allows to create, through the deep connection between space and light, and the perceptual mechanisms of
the perceiver, new and unexpected aesthetic paths (Sabra, 1981).
The environmental experience by human is intimately connected with the light space, given that the space it-
self (in a visual sense) is a space-light, and viewers perceive spatial relationships only when light is intercepted
and reflected by an object settled in a space-light context (Kepes, 1944): with the space neonization, a new form
R. Tomassoni et al.
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of artistic expression was born, as just demonstrated with famous artworks by James Turrell, Dan Flavin, and
the artists of the Californian art movement of Light and Space (Butterfield, 1996). The aesthetic perception by
the viewer, led by psychobiological mechanisms specialized in the course of evolution (Martindale, Locher, &
Petrov, 2007), has faced for the first time an artificial visionof the environmental space, thatjust through
the lighthas become modified spatial perception, according to a precise aesthetic strategy planned by light de-
signers (Flynn, 1988; Kaplan et al., 1998). In the Light Art artworks, as well as Light Design in general, light
and lighting take up the function to illuminate the environmental (which is perceptual and experiential space),
highlighting and marking objects, revealing spatial or symbolic paths, focus or divert the viewers attention in
front of a specific artworks detail, letting out the symbolic strategy and meaning trajectories planned by the art-
ist or light designer. In fact, through research performed by using light sources of different spectrum (from nat-
ural to artificial light), it was established a significant correlation between lighting levels and light colours, psy-
chophysiological reactions and emotional responses by the perceivers: generally, a higher intensity of light sti-
mulation corresponds to a higher level of concentration/attention, associated with a greater emotional response
by the subject. For example, the exposure to a flashing or pulsating light (rather than a steady light) induces
faster emotional responses by the perceiver: in fact, flashing light is associated with the danger, activating an
innate state of alert in the human, enabling him/her to react quickly and in a most extreme way, influencing
judgment abilities, problem solving and decision making skills. Through the lighting modulation (and its colour
spectrum), it is possible to stimulate different emotions in human being, such as physical attraction or aggres-
siveness: the activation of specific neurotransmitters and the production, at biochemical level, of specific hor-
mones in the presence of determined colour light source, shows the psychobiological bases of light perception
by human, that may change according to the subjects sex or age (Burg, 1967), but also the supposed effective-
ness of some alternative medicine techniques (such as chromotherapy) on the psychological wellbeing of the in-
dividual.
Lighting conditions, as well as the intensity and colour of the light source, influence indeed the human bio-
logical cycles and, by a chronopsychological point of view, the circadian rhythm, by increasing or decreasing
the level of specific hormonal secretions (such as melatonin, namely the marker-hormone of circadian rhythms,
produced by the pineal gland), that are responsible for certain neurophysiological states. Critical, in this sense,
was the discovery of a specific photoreceptor cell in the human retina, the melanopsin, responsible (during the
phototransduction process) for synchronizing the biological clock in the human: throughthe use of higher or
lower lighting levels, it is possible to inhibit the production of melatonin, inducing a higher concentration; in
fact, melatonin levels increase during the night, when light is low, stimulating the sleep onset (McIntyre et al.,
1989); on the contrary, over-lighting or close light flashes provoke dazzle, that by reducing the perceivers visi-
bility and visual performance, bring out discomfort, stress, sense of danger, and disorientation in the individual,
that if sustained over time may lead to neuropsychiatric disorders: human is a photosensitive being (Bruce &
Green, 1990; Daurat et al., 1993).
6. Conclusion
By using the outcomes of these investigations, Light Design and Light Art might proposefrom the point of
view of human healthan integrated, strategic and healthyuse of the light sources, in order to improve the
psychophysiological wellness of the individual (healthy lighting), the holistic-perceptive experience relating to a
specific architectural environment (e.g. the exhibition space in a museum or art gallery, but also the home inte-
rior, or the working space in an office), and, moreover, concerning the aesthetic appreciation of a space, object
or artwork and their affordance: since the photobiological lighting effects are related to the characteristics of
light energy incident on human retina, a different modulation of the light stimulus and its chromatic range has
not only the role of making pleasant, comfortable or simply significant a given environment for a perceiver, but
also improving the health and wellness of the individual, according to a specific ecological approach to visual
perception (Gibson, 1979).
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... Oculum Ensaios I Campinas I v. 21 I e245412 I 2024 as "emoções" (Barrett;Bar, 2009;Cannon, 1915;Feldman, 2018;James, 1890;Kiernan;Rajakumar;Barr, 2013;Ledoux, 2015;Solovyova, 2008), o "movimento" (Jelić, 2015;Jelić et al., 2016;Kiernan, Rajakumar;Barr, 2013;Sternberg;Wilson, 2006) e a "luz" (Hidayetoglu;Yildirim;Akalin, 2012;Merabet et al., 2005;Milosavljevic, 2019;Tomassoni;Galetta;Tréglia, 2015). E se a experiência e a conduta humana estão condicionadas aos estímulos presentes em um ambiente, a saúde, como indicativo do estado mental e físico do indivíduo, pode ser considerada também um aspecto relacionado aos atributos do lugar. ...
... Oculum Ensaios I Campinas I v. 21 I e245412 I 2024 as "emoções" (Barrett;Bar, 2009;Cannon, 1915;Feldman, 2018;James, 1890;Kiernan;Rajakumar;Barr, 2013;Ledoux, 2015;Solovyova, 2008), o "movimento" (Jelić, 2015;Jelić et al., 2016;Kiernan, Rajakumar;Barr, 2013;Sternberg;Wilson, 2006) e a "luz" (Hidayetoglu;Yildirim;Akalin, 2012;Merabet et al., 2005;Milosavljevic, 2019;Tomassoni;Galetta;Tréglia, 2015). E se a experiência e a conduta humana estão condicionadas aos estímulos presentes em um ambiente, a saúde, como indicativo do estado mental e físico do indivíduo, pode ser considerada também um aspecto relacionado aos atributos do lugar. ...
... Sua a análise é complexa e alcança parâmetros associados à fisiologia, comportamento e cognição. Três propriedades principais podem ser atribuídas à luz: a primeira abarca sua existência como estímulo em si (Possebon, 2009;Tomassoni;Galetta;Tréglia, 2015); a segunda a compreende como um dispositivo que viabiliza outros mecanismos perceptivos (Tomassoni;Galetta;Tréglia, 2015); e a terceira diz respeito às suas capacidades de regulação biológica (Tomassoni;Galetta;Tréglia, 2015;Takahashi, 2016;Milosavljevic, 2019). ...
Article
A forma como o espaço interfere na percepção é complexa, já que se associa ao indivíduo. Mas se a experiência é múltipla, o sistema que estrutura essa subjetividade na mente humana, contrariamente, tem delimitações mais bem definidas. O estudo busca explorar a interação entre a arquitetura e o funcionamento cerebral através da aplicação da neurociência às edificações – denominada neuroarquitetura –; investigando como o ambiente construído influencia a percepção e o comportamento humano, e como o potencial terapêutico do espaço atua na promoção do bem-estar físico e mental. Para tanto, utiliza-se uma abordagem teórico-exploratória, combinando elementos de pesquisa teórica e exploratória para aprimorar a compreensão do tema. A análise crítica e a síntese das informações existentes na literatura científica disponível foram expostas em duas seções principais: arquitetura e mente, abordando como as emoções, o movimento e a luz interferem na percepção do lugar; e o potencial terapêutico do espaço, tratando como os atributos arquitetônicos afetam a saúde e qualidade de vida humana. Análises conclusivas apontam para formalização da neuroarquitetura como ferramenta eficaz na investigação da relação espaço-mente, possibilitada pelo avanço tecnológico no mapeamento cerebral; e para o reconhecimento do poder terapêutico do espaço, muito além da minimização dos efeitos negativos sobre o indivíduo, também em comprovados benefícios restaurativos da saúde.
... Understanding how color contrast influences visual clarity in indoor environments can inform lighting and interior design strategies, contributing to more visually comfortable and esthetically optimized architectural spaces [4][5][6]. For example, the careful selection of colors can evoke emotions, set moods, and influence the perception of space [7,8]. Color contrast aids in defining spatial boundaries, helping circulation, enhances visual interest, and fosters a greater understanding of visual composition. ...
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Color contrast creates visual interest, increases attention, and enhances legibility in the indoor environment. Past studies have suggested that color contrast enhances visual clarity due to the color opponency mechanism of the visual system, especially when two opposing colored samples are seen side by side, such as red–green or yellow–blue. However, these studies were limited to solid single-colored samples, which falls short on representing the built environment with its complex distributions of colors and objects. This study explores the validity of the “color contrast–visual clarity” hypothesis for complex images of indoor built environments. Twenty images of indoor environments were selected from an image database to represent a wide range of colorfulness and spatial complexity (ranging from simple to complex). Forty new images were generated by increasing the colorfulness of either the red and green or blue and yellow sections of the original 20 images using an image editing software. Forty participants assessed the visual preference, clarity, colorfulness, and complexity of the 60 images. No statistically significant difference was found between red–green or yellow–blue enhanced images and original images. However, an observable trend indicated a linear relationship between visual clarity and colorfulness. In addition, participants preferred saturated images over original images. While the findings suggest potential trends, the lack of significant effects warrants cautious interpretation, and further research is needed to explore the impact of color contrast in more controlled settings.
... Understanding the interactions between light, space, and humans is important in architecture. This integration produces a space that is suitable for living, namely, one that can fulfil the functional and aesthetic aspects of the space and influence the perception and well-being of the user [4,5]. This aspect is fulfilled through the image-forming process, which involves the processing of light information through the visual system in the eye and transmission to the human brain [6]. ...
Article
Visual comfort in deep rooms with side lit openings varies by positions and time; thus, interventions are required to provide comfort for all users in a room. This study aims to identify the conditions affecting visual comfort and potential interventions on spatial and temporal aspects of a room. This experiment comprises two layout settings: semi-enclosed studio layout and open studio layout with variables of zone (perimeter and core), viewing direction (north window, east wall, south window, and west wall), and temporal aspect (morning, midday, and afternoon), which determines how each aspect influences visual comfort. In this study, visual comfort is indicated using vertical eye illuminance (Ev) and daylight glare probability (DGP). Field measurements of daylighting performance were taken over five days and three times per day using a light meter to capture Ev and HDR images, which were then processed using Aftab Alpha software to produce DGP values. The results indicate that visual comfort in a deep room sequentially depends on view direction, zone, layout, and time. The value of Ev in deep rooms is significantly influenced by the type of opening, specifically the side lighting, which results in short penetration and does not reach the room core. Additionally, it depends on outdoor conditions. Consequently, the value at the perimeter is much higher than that at the core. By contrast, the glare sensation was not influenced by outdoor conditions during the day. Adjusting the view direction can control the less-than-ideal sitting position to obtain visual comfort. Additionally, correcting the sitting position in the zone can improve visual comfort at various times. Obstruction in the room plays a positive role in controlling glare and plays a negative role when reducing Ev. The period of visual discomfort throughout the day identified that the worst conditions occur in the morning owing to the lack of Ev. The optimum condition occurs during the day in the west wall and south window view direction, south perimeter zone, and semi-enclosed studio layout. Therefore, view direction and zone are effective features for obtaining visual comfort. Nevertheless, the layout type, room surface properties, and obstruction can also enhance visual comfort in various time conditions such as in the morning, afternoon, or evening. Horizontal plane components such as ceilings can expand the effects of Ev and reduce the effects of DGP in the morning or on cloudy days. The findings have implications for the design of deep rooms such as offices, studios, museums, and galleries in arranging the characteristics of horizontal and vertical surfaces of furniture and layout room that can affect the performance of the user.
... The second sub-theme, "Quality of materials and applications", emphasizes the importance of using high-quality, durable materials in airport facilities to enhance both visual appeal and functionality, thereby improving the sensory experience for travelers [130,131]. The "Compatibility of different materials with each other" sub-theme suggests not only the importance of individual material characteristics but also how they interact with each other, with a focus on prioritizing children's health. ...
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This study explores the concept of child-friendly airports, using Istanbul Airport as a case study to understand how such environments can enhance the travel experience for families with children. Through qualitative research methods, including focus group discussion and in-depth interviews with 12 mothers and 12 field specialists, the research identified key attributes that constitute a child-friendly airport. Building upon the Place Diagram model, the results revealed that a child-friendly airport should prioritize sociability, comfort and image, uses and activities, and access and linkages, aligning with the model’s core themes. The results further identified numerous sub-themes linked to these four themes. Accordingly, airports should offer diverse play areas, family-friendly seating, efficient wayfinding, and high-quality, sustainable materials to create a safe, inclusive, and engaging environment for passengers with children. The study emphasizes the importance of designing airports that cater to the needs of children and their families, contributing to social equity and enhancing the overall passenger experience. These insights can serve as a benchmark for other airports aiming to improve their service offerings for families, supporting sustainable development goals related to reducing inequalities and promoting inclusive, safe, resilient, and sustainable environments. This study represents the first academic attempt focusing specifically on comprehensive services for passengers with children and the broader concept of child-friendly airports.
... Esse hormônio, protagonista na saúde cerebral do indivíduo, tem sua principal regulação atribuída à recepção luminosa de células ligadas ao olho humano, conforme a relação deste com os ciclos naturais luminosos diários. A percepção do escuro e do claro no decorrer do dia, é de suma importância para o correto funcionamento da melatonina (Tomassoni et al., 2015). Essa conexão com o bem-estar humano pode ser examinada sob três abordagens principais: por meio do sistema visual, do conforto visual e dos estímulos que afetam a percepção. ...
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Objective: The objective of this work is to carry out a qualitative literature review, with the aim of exploring the multidisciplinary nature of the topic discussed here. Bibliographic exploration was consulted in order to establish a historical narrative regarding the impact of the emergence of public lighting in Brazilian cities. It is also the intention to raise the discussion regarding the multifactors that public lighting can address in improving the lives of those who enjoy the city at night. This context, which presents itself as a fruit of human development, raises the need for work, since progress should not negatively affect the reality, health and sociability of the human species. As a secondary objective, the proposal arises to raise the collective notion of the importance of establishing administrative and technical efforts, so that Brazilian cities remain sufficiently illuminated during the night, since the technological development of lighting resources is constantly updated. Such understanding is fundamental to enhancing the role of urban settlements in the lives of the citizens who live there and have, at night, the possibility of leisure, work and sociability. As a consequence, an improvement in the safety, health and well-being of the population can be achieved. Theoretical Framework: The primary database used in the development of this study was the analysis of historical and technical data on the implementation of the public lighting system in Brazil, as well as its benefits, obtained from the bibliography of authors capable of discussing the subject. Method: The methodology adopted for this research comprises the process of integrative bibliographic review, with the objective of fostering the multidisciplinary nature of the topic regarding public lighting in Brazilian cities. Data collection was carried out through the exploration of digital academic databases. Results and Discussion: The results obtained reinforced the crucial role of public lighting for the well-being of the population. Furthermore, they revealed that the central subject explored in the research demands a broad and integrated study, given the complexity of its nature. Public lighting in Brazilian cities needs to be analyzed from the perspective of various fields of knowledge. Research Implications: The practical and theoretical implications of this research are discussed, providing insights on how the results can be applied or influence practices in the fields of electrical engineering, urban planning, statistics, architecture, public administration, and the joint work between these fields. Originality/Value: This study contributes to the literature by presenting an innovative, theoretical and integrative essay on the topic of public lighting in Brazilian cities. The work also acts as a promoter for future studies that seek to unite in a complex way the multifactors treated, and, possibly, factors external to the topic.
... Light, a fundamental design element, adds dimensional complexity to the learning environment, influencing cognitive, emotional, and behavioral responses (Tomassoni et al., 2015). Children are particularly sensitive and responsive to nuances in both light and color (Fielding, 2006). ...
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This research investigates the influence of color-filtered lighting in relation to biophilic design, specifically within the preschool learning environment where design elements impact early childhood development. Among various architectural design components, research underscores the pivotal role of lighting in affecting children’s pleasantness and energy levels. The experiment yielded three key findings: (1) discernible differences in pleasant and energy levels were observed between existing white lights and specific color-filtered lights; (2) varying pleasant and energy levels were noted among different color-filtered lights; (3) a relation was identified between external conditions (confounding variables) and pleasant and energy levels in the context of color-filtered lights. Subsequently, the study delved into the interplay between the effects of color-filtered lighting and natural light, specifically focusing on the Correlated Color Temperature (CCT) level. There is an opportunity to refine and innovate lighting elements of learning environments through the interplay between indirect experience elements of biophilic design, attention restorative theory (ART), and perceived emotional experience. The study offers valuable insights into the relationship between specific lighting conditions and elevated energy and pleasantness levels suggesting a meaningful avenue for further research and practical application in educational settings.
... To ensure interoperability between different devices of the same type, since not all devices have the same ranges, options, etc., we introduce a space agent tasked with aligning preferences with the devices' capabilities. We chose to focus on lighting not only because it is obviously one of the ambient conditions that are the sources of arguments in common areas at home and at work but also because it has a great impact on humans, as pointed out by Tomassoni et al. [15], who emphasize the influence of light intensity and color on people's emotions and psyches. A statement by Chew et al. [16] underlines the complexity and importance of smart lighting: "it can be concluded that the future of smart lighting development is a multi-disciplinary research area; smart lighting has the potential to provide the platform to bring advancements in key research areas pertaining to energy efficient buildings, human health, photobiology, telecommunications and human physiology to our living rooms and offices". ...
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The integration of the Internet of Things (IoT) and artificial intelligence (AI) is critical to the advancement of ambient intelligence (AmI), as it enables systems to understand contextual information and react accordingly. While many solutions focus on user-centric services that provide enhanced comfort and support, few expand on scenarios in which multiple users are present simultaneously, leaving a significant gap in service provisioning. To address this problem, this paper presents a multi-agent system in which software agents, aware of context, advocate for their users’ preferences and negotiate service settings to achieve solutions that satisfy everyone, taking into account users’ flexibility. The proposed negotiation algorithm is illustrated through a smart lighting use case, and the results are analyzed in terms of the concrete preferences defined by the user and the selected settings resulting from the negotiation in regard to user flexibility.
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p> Housing is one of the 3 primary human needs, namely clothing, food and shelter. The development of residential houses is growing rapidly with various types, one of which is a couple or attached type of residence developed by housing developers. Couple residences generally do not have side openings and only use natural light sources from the front and back of the house. These problems make the owner make a solution for opening the upper natural lighting with the aim of optimizing the entry of sunlight during the day so that there is no need for additional energy to illuminate the room. The next problem from the application of top light openings is that the light consumed by the space will be excessive and cause heat in the space. This research method is measuring the value of incoming light using a lux meter and measuring temperature and heat envelopes using a thermal camera with the hope that the measurement results are able to create the right top light opening so that it does not cause glare and does not increase heat in the room. </p
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With the ongoing changes in the work environment, specifically turning from fulltime to no time at the office and nowadays pending somewhere in between, there is a need for decision makers to redefine their expectations of a day at the office. Previously, organizations worldwide focussed on creating workplaces that foster interaction and collaboration to enhance knowledge exchange and communication. Both are among the main drivers for stimulating creativity at the workplace, leading to increased innovation activities. Since offices are dramatically changing from lean, work‐focused, and hierarchical workstations into employee‐oriented, creativity‐enhancing spaces with playground artefacts, the need for quantitative research on the effects of workplace design on creativity seems evident for researchers and practitioners. Although prior research has attempted to describe the physical work environment and its impact on creativity, empirical evidence is still lacking on what concrete attributes of a workplace employees perceive as inspiring. We therefore contribute to the existent body of knowledge by establishing a definition for inspiring physical workplaces as perceived by employees in times of digitalization and provide a conceptual model analysing the effects between workplace design, internal knowledge exchange, and creative problem‐solving capacity. We assess our survey data with partial least squares structural equation modelling and provide first empirical evidence that our proposed formative index supports the common research agenda within the context of workplace design, and further, that aspects of workplace design not only enhance creative problem‐solving capacity as an important dimension of creativity itself, but that this relationship is also partially mediated by internal knowledge exchange.
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The text aims to investigate methods and techniques introduced by Scandinavian designers which are beneficial to the overall sensorial aspect of their work. To emphasize the wide spectrum of the subject, various materials would be taken into consideration—wood, glass, metal, textiles. Thanks to the analysis of selected case studies it is possible to showcase the main ideas of how the multisensorial design practices have been implemented within the realm of Scandinavian design, focusing on diversity of examples. The methodology applied uses the analysis method of design history combined with the perspective provided by cultural studies and their analysis of the broad context. To enrich the latter, also certain cultural associations will be considered. Wood provides the visual, tactile, and olfactory experience which has been used in both conceptual and commercial projects. Glass, often considered by designers exclusively for its visual aspects, brings the tactile element of shape and structure, which are meant to mimic the contact with nature, vital for many Nordic projects. Metal and textiles can be considered as opposite sensorial features based on contrasting properties, hot–cold, soft–hard. The study serves as an introductory paper to touch upon the question of multisensory in Scandinavian design, not thoroughly investigated in international literature, by presenting further opportunities for in-depth studies.
Chapter
How do people react to the visual character of their surroundings? What can planners do to improve the aesthetic quality of these surroundings? Too often in environmental design is misunderstood as only a minor concern, dependent on volatile taste and thus undefinable. Yet a substantial body of research indicates the importance of visual quality in the environment to the public and has uncovered systematic patterns of human response to visual attributes of the built environment. With information on the subject normally scattered between disciplines, this book provides a vital service in bringing together classic and new contributions by distinguished workers in the field.
Book
In this book, well-known scholars describe new and exciting approaches to aesthetics, creativity, and psychology of the arts, approaching these topics from a point of view that is biological or related to biology and answering new questions with new methods and theories. All known societies produce and enjoy arts such as literature, music, and visual decoration or depiction. Judging from prehistoric archaeological evidence, this arose very early in human development. Furthermore, Darwin was explicit in attributing aesthetic sensitivity to lower animals. These considerations lead us to wonder whether the arts might not be evolutionarily based. Although such an evolutionary basis is not obvious on the face of it, the idea has recently elicited considerable attention. The book begins with a consideration of ten theories on the evolutionary function of the arts, and this is followed by several chapters that consider the possible evolutionary function of specific arts such as music and literature. The theory of evolution was first drawn up in biology, but evolution is not confined to biology: genuinely evolutionary theories of sociocultural change can be formulated. That they need to be formulated is shown in several chapters that discuss regular trends in literature and scientific writings. Psychologists have recently rediscovered the obvious fact that thought and perception occur in the brain, so cognitive science moves ever closer to neuroscience. Several chapters give overviews of neurocognitive and neural network approaches to creativity and aesthetic appreciation. The book concludes with two exciting chapters describing brain-scan research on what happens in the brain during creativity and presenting a close examination of the relationship between genetically transmitted mental disorder and creativity.