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Te techniques for lighting any change of level or requirement for reading become very localised. Contrast ratios need to be emphatically controlled – any glare will disturb the occupant’s vision, hence vertical accents and reflected light from materials become far more important at lower light levels. Tis means that all items can be seen even in low light and create a sense of safety. Fear of tripping or of not seeing are averted.


Light pollution is well understood in external designated areas for natural conservation, particularly relating to bats and astronomers. We have worked closely with both and discovered the exponential sensitivity of the eye at very low levels of light. Tese 1–5 lux environments have taught us how to comfortably manage the eye’s adjustment range from light to dark. It is worth emphasising that if you have


‘The ability to model daylight helped counter the intrinsic fear our clients had that a dark space was a negative space’


met conditions for a dark environment, it does not matter whether you are inside or outdoors, your eyes function in the same way. We now employ lighting techniques in workplaces that are appropriate through each stage of the 24-hour occupancy cycle; we understand the triggers and impacts that can stimulate or relax personnel at different times of the day. We can safely light exterior spaces down to 5 lux with the right balances, and at the right times we can also do this for our interiors. Presentation spaces with intentionally dark interiors need to be entered via a slow, gradual passage to enable adjustment without temporary blindness. Dark peripheral spaces that control the gradual progression help to achieve this.


It is interesting to note that we can now confidently darken spaces to slow occupants and attract them away


PHILLIP VILE


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