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084 DECORATIVE & DESIGN / LIGHT ART


Neil Musson of MacKay Design Studio investigates the benefits of involving an artist in the development of lighting schemes.


We know that lighting has the power to change public perception of a building or a place but how do we ensure that the light provides maximum impact on increasingly stretched budgets? As lighting technology advances apace, especially where solid state is concerned, more building projects are taking advantage of the opportunity to brand with light. A gap has opened which will soon be filled with new and original lighting installations; at present this gap is open for artists and designers to explore and as public expectation grows, this is an exciting time for those focused on using light in a new and creative way. My experience is that quality lighting solu- tions start with a vision; not resources, not technical capability, not budget, not even environmental concerns, but with aesthetic vision.


This article examines core ingredients of original and appropriate illumination from the perspective of the artist using light as a medium... where art meets design. Classi- fications that label individuals as ‘artist’ or ‘designer’ are often less than helpful in pro- gressing dialogue within a building project. In reality the two constantly cross over and


some may argue that applying labels such as art and design is a dated and restrictive mode of thought. However, there is a dis- tinct difference in approach between these two labels which needs to be understood to get the most out of any collaboration. One premise that forms a solid starting point is that successful lighting works in harmony with its environment. This does not necessarily mean that it should blend with its location but that it should have an intrinsic relationship with it. Common sense, perhaps, but often main stream solu- tions appear as disparate elements existing purely for the sake of light. Public artwork should not be a ‘bolt-on extra’ but an integral part of architectural planning. The sooner the artist is employed in a project, the greater the impact and significance of their contribution. Collaboration between architects and artists has the potential to herald results that are greater than the sum of the two parts; surely a very good reason to encourage dialogue early enough to explore the range of benefits.


Based on years of experience lighting build- ings, bridges and public spaces, artist Nayan Kulkarni suggests: “Mix it up. Get as many


people (designers, clients, users, stake- holders) thinking about light right from the beginning.” This conversational approach has the positive effect of challenging not just the clients but the artist as well and blurring boundaries between different stake holders.


So if boundaries between art and design are blurred what is the difference and does it matter anyway? One answer is that the artist uses his chosen materials to commu- nicate a concept or meaning while the de- signer finds a solution to a defined problem or brief. The focus, or reason, for creating is therefore different.


If art is about meaning, then we have to ask whether meaning is important in an archi- tectural context. After all, how much does meaning matter to people walking though an illuminated high street or into a beauti- fully lit foyer? Surely the fact that the space looks good and functions well is enough? This maybe so, but what if the ‘meaning’ – the artistic concept – was the catalyst that brought about that beauty and originality through a process of investigation and com- munication.


Here is the point at which the artist may be


CONCEPTUAL LIGHTING


ALTERNATIVE ILLUMINATION


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