corporate lighting: architectural lighting for brand communication
DESCRIPTION
Doctoral thesis from Darmstadt University of Technology. Title: Corporate lighting - Methods and techniques of architectural lighting for brand communication. Author: Thomas Schielke Presentation: Dissertation defense 4.3.2014. Online access to complete doctoral thesis: http://tuprints.ulb.tu-darmstadt.de/id/eprint/3466 Contact for correspondence: www.arclighting.de Abstract: This work analyses architectural lighting as an element of brand communication. The lighting is comprehended as the message of a sender, which has an impact on the appearance of architecture. In the context of experiments and case studies, the effects of lighting on the appearance will be examined for a neutral space and for interiors and exteriors in the retail and service sectors. Illuminance, luminance distribution, as well as the light spectrum and dynamic serve as independent variables of lighting. A model for the brand personality with the four factors of temperament, competence, attractiveness and naturalness will be drawn upon for the appearance as an independent variable, as well as a sociological model with the two factors of style and price for social milieus. The experiments are carried out in real space and using light simulations. The results provide correlations between the perception of brightness, contrast, colour temperature and colourfulness and the factors for the two models relating to the appearance. In individual cases models exist for predicting the appearance on the basis of the subjective evaluation of light. This work documents significant differences for both models with respect to the appearance due to an alteration of the light physics parameters of luminous intensity distribution and light spectrum. The economic analysis of the experiments did not result in any significant correlations between higher investment or operating costs and a correspondingly higher subjective price impression of the various lighting situations. Case studies on design guidelines for lighting prove the various lighting design and lighting technology strategies, as well as the processes in business practice. The semiotic analysis of case studies considers architectural lighting as symbol, the properties of the appearance as the object and the consumer as the interpretant, and discusses strengths and weaknesses in communication. In this way, the work produces a differentiated connection between architecture, lighting and marketing.TRANSCRIPT
Corporate Lighting: Methods and techniques of architectural lighting for brand communication
Thomas SchielkeDoctoral thesis from Darmstadt University of Technology
1
1 Introduction1.1 Relevance1.2 Research questions1.3 Methods1.4 Thesis structure
2 Architecture2.1 Corporate identity2.2 Semiotics in architecture2.3 History of corporate architecture2.4 Typologies of corporate architecture
3 Light and visual image3.1 Characteristics of light3.2 Perception of light and space3.3 Lighting concepts3.4 History of architectural lighting
2
4 Lighting technology and types of lighting4.1 Light sources4.2 Lighting control4.3 Types of lighting4.4 Ecological and economical factors
5 Analysis5.1 Theoretical background and hypothesis for experiments5.2 Methodology5.3 Evaluation criteria5.4 Experiments in neutral interior space5.5 Experiments for interior spaces with different functions 5.6 Experiments for exterior spaces with different functions5.7 Case studies interior spaces5.8 Case studies exterior spaces5.9 Design guidelines
6 Findings6.1 Findings6.2 General experimental critique6.3 Design guidelines in practice6.4 Relevance of findings
7 Summary7.1 Findings7.2 Outlook
8 Index8.1 Literature index8.2 Image index8.3 Table index
9 Appendix9.1 Results and analysis of experiments9.2 Images9.3 Tables
Corporate Lighting: Methods and techniques of architectural lighting for brand communication
ContextMethodsAnalysisCritiqueOutlook
3
Corporate Lighting: Methods and techniques of architectural lighting for brand communication
> Challenge: Interdisciplinary connections
4
Light Perception Marketing
Context
Context
5
NameCitroënParis, 1925
Colour corporate designEssoGermany, 1998
Geometry of logoadidasBerlin, 2008
Illumination of architecture as a message from brands
Context
6
Luminaire arrangementAldi NordDortmund, 2006
Luminous intensity distributionEdekaIngolstadt, 2007
Light spectrumLa RinascenteMilan, 2007
30° 30°
60° 60°
3000 cd
Architectural lighting and perception psychology
Richard Kelly, 1952:- Focal glow- Ambient luminescence- Play of brilliants
> Lighting changes perception of environment> Basis for designing experiments
Context
7
Stage lighting for creating atmosphere
Stanley McCandless, 1958:- Visibility- Revealing form- Good composition- Atmosphere
> Lighting for story telling
8
Context
Corporate Identity
Corporate Design
Corporate Architecture
Corporate Lighting
Marketing:Corporate communication
- Brands communicate their identity for differentiation- Visual elements contribute to building an identity
> Usage of design guidelines for lighting to install corporate identity
9
Context
Marketing analysis
- Sociology: Social milieus as model for life style of target groups- Marketing: Personality to describe characteristic brand attributes
> Examining the effects of lighting in regard to communication models in marketing
10
Context
Research questions
Corporate visual image
4. Investment costs
1. Perception of light
2. Types of lighting
3. Coloured lighting
Price perception
11
Context
Stimulus- Space- Light
Response- Attribution
Independent variables- Lighting- Environment
- Visual perception- Individual differences- Cultural context
Dependent variables- Light- Social milieu- Brand personality
Model
Methods
Process- Psychobiological
12
Pro- Controllable variables- Close to reality
Contra- High costs for using variations- Fixed site
Pro- Controllable variables- Flexibility- Online surveyContra- No 3D perception of space
Pro- Close to reality
Contra- Environmental effects- Variables non- controllable
Pro- Close to reality
Contra- Representativeness
ExperimentsReal space
Case studiesReal space
SurveyReal space
Methods
Simulation
13
Methods
LightTypes of lightingColoured lightingDynamic lighting
LightTypes of lightingColoured lighting
ExperimentsReal space
Variables, independant
Simulation
14
Methods
LightTypes of lightingColoured lighting
SpaceMaterialArchitecture
Variables, independant
Simulation
15
Methods
Social milieuBecker & Nowak, 1982
Pro- repeated implementationContra- no spatial pattern
Pro- widely spreadContra- inner consistancy
Pro- tested for architectureContra- not yet widely spread
Brightness
Variables, dependant
Colour temperature
Contrast
Chromaticity
Price
Style
Temperament
Competence
Attractiveness
Naturalness
Brand personalityAaker, 1997; Raffelt, 2012
16
LightTiller & Rea, 1992
Methods
Experiments- 16 experiments- 210 light scenes- 30% real space, 70% simulations- 56% white light scenes, 46% coloured light scenes
Probands- On average n = 30 per stimulus, min. 14, max. 99- Mean age: 26- 59% women, 41% men
Overview experiments
17
Evaluation- Max. 8 scenes per test group- Evaluation after each light scene- Likert scale, 7 points- 2 items per Index
Methods
- Conformity for 7-8 of 10 indexes between reality and simulation- Difference mainly applies to colour, but hardly brand image- Option: Colour calibration
> Image techniques provide valid basis for brand indexes
Validity
Display screen≠ Colour temperature≠ Chromaticity
Video projector≠ Colour temperature≠ Chromaticity≠ Naturalness
Reality
18
Methods
Analysis: Experiments
19
Types of lighting Social milieu Brand personality+
Price
Style
Temperament
Competence
Attractiveness
Naturalness
General lighting
Wall washing
Accent lighting with projection
Accent lighting
20
Wall washing
Accent lightingwith projection
Accent lightingGeneral lighting
+
Analysis: Experiment #8
Types of lighting Social milieu Brand personality
21
3,0
3,5
4,0
4,5
5,0
5,5
6,0
+
3,8
4,3
4,7
4,8
Types of lighting Social milieu Brand personality
Analysis: Experiment #8
22
3,0
3,5
4,0
4,5
5,0
5,5
6,0
+
3,8
4,3
4,7
4,8
Friedman test:No significant results
Types of lighting Social milieu Brand personality
Analysis: Experiment #8
23
3,0
3,5
4,0
4,5
5,0
5,5
6,0
+
3,8
4,3
4,7
4,8
5,75,5
5,0
Friedman test:Significant results
Types of lighting Social milieu Brand personality
Analysis: Experiment #8
24
3,0
3,5
4,0
4,5
5,0
5,5
6,0
+
3,8
4,3
4,7
4,8
5,75,5
5,0
3,73,8
Friedman test: Significant results
Types of lighting Social milieu Brand personality
Analysis: Experiment #8
25
3,0
3,5
4,0
4,5
5,0
5,5
6,0
+
3,8
4,3
4,7
4,8
5,75,5
5,0
3,73,8
Types of lighting Social milieu Brand personality
Analysis: Experiment #8
Spaceneutral
Interiors
Space neutral
Interiors
Limitations: Based on 95% accordance of significant results. Significant results not for all experiments. Low speed used for dynamics.
Social milieuPrice Style
Brand personalityTemp. Comp. Attract. Naturl.
General
26
+ Types of lighting
Analysis: Experiments #1-16
Types of lighting
- Conformity of results from light lab and interior application experiments with interior case studies
Analysis: Case studies
Supermarket Fashion retailComputer stores
27
Influence environment
- Wall materials, furniture and neighbouring buildings partially change corporate image factors- Limitation: Limited number of variables
> Environment has partially influence on corporate image
Analysis: Experiments
Wall materials
Furniture
28
Investment costs and price perception- Hight investment costs do not necessarily result in a higher price perception - Planning enables high price perception without maximum budget
> Value of lighting also includes value for brand communication
Analysis: Experiments
29
0 500 1000 1500 Total cost per year EUR/a
6,0
5,5
5,0
4,5
4,0
3,5
Price perception
Design guidelines in practice - Automotive industry- 7 of 10 automotive companies use design guidelines for lighting- Survey: In Germany active automotive companies with 3800 showrooms. 2009: 66% share of new car registrations> Widely spread usage of design guidelines for light in automotive segment
Analysis: Survey
30
Design guidelines in practice - Automotive industryRelevance for corporate design in general:Logo/Brand nameMaterial of the interiorFurnitureLightColour conceptsDecoration objectsBuilding type/ConstructionVisual displaysMusic
31
7,0
6,1
5,7
5,4
5,4
5,0
4,7
3,9
3,7
Analysis: Survey
Evaluation of findings
- New interpretation of lighting as a message- Closing research gap between light, architecture and marketing- High relevance for brand communication- Valuable basis for various brand concepts
Critique
32
Method
Pro- Broad focus- In relation to existing models- Proof of causal relations between light and brand- Results mainly base on multiple experiments - Close to reality due to realistic simulations and case studies
33
Critique
Method
Contra- Simulations allow limited spatial perception - No calibration of probands before tests for evaluation criteria- Coloured lighting was used with a limited number of variables- Few causal effects for brand values based on light perception factors
34
Critique
Design guidelines for lighting in practice
- Implementation is dependant on organisation: Owned showroom versus franchise- Finance programs: Promotions, sanctions- Budget assignment: Architecture versus interior design
35
Critique
1. Method
- Field tests for more practice orientation as well as interactions- Increasing the test group for older age group and international comparisons - Inclusion of long term effects- Optimisation for reliability regarding index style- Testing more exteriors
Outlook
36
2. Lighting design und technology
- Stronger consideration of daylight- Integration of sensors for dynamic lighting concepts
37
Outlook
3. Interdisciplinary
Stronger cooperation with other disciplines:- Environmental psychology: Information models (Kaplan & Kaplan, 1989)- Semiotics: Matrix (Bense & Walther, 1973)- Medicine: Studies of neuronal effects
38
Outlook
39
Corporate Lighting: Methods and techniques of architectural lighting for brand communication
Thomas SchielkeDoctoral thesis from Darmstadt University of Technology. 4.3.2014
40
Corporate Lighting: Methods and techniques of architectural lighting for brand communication
Online access to complete doctoral thesis:http://tuprints.ulb.tu-darmstadt.de/id/eprint/3466
Contact for correspondence:www.arclighting.de
Thomas SchielkeDoctoral thesis from Darmstadt University of Technology
- Lighting changes corporate visual image- Accentuation for modern and temperament image- Blue wallwashing increases price image, competence, attractiveness and naturalness- Accentuation or wallwashing results in higher temperament and attractiveness- Combined luminous intensity distributions lead to modernised and temperamental images- Coloured light results in a modernised and temperamental image- Dynamic saturated colours result in cheaper, less temperamental and less competent images- Lighting alters price perception- Interaction with materials and neighbourhood- Design guidelines for lighting- Semiotics for analysing interdependencies- Sustainability concept
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Executive summary
People Phillip Anzalone, Borisuit Apiparn, Edward Bartholomew, Helmut Bien, Frieder Blickle, Erik Bohr, Peter Boyce, Howard Brandston, Susanne Brenninkmeijer, Louis Brill, Jason Bruges, Jean-Luc Capron, Jimmy Chorssen, Jens Christoffersen, Acharawan Chutarat, James Crowley, Christopher Cuttle, Mike Day, Hannelore Deubzer, Johann Eisele, Agneta Ejhed, Jan Ejhed, ERCO colleagues, Oscar Falk, Family, Steve Fotios, Friends, Bernadette Fülscher, Chris Gascoigne, David Gersten, Kathleen Gibson, Paul Gregory, Axel Groß, Marit Haase, Rainer Hartmann, Simone Heinze, Harald Hofmann, Christian Hoffmann, Mareike Höhler, Swee Hong Ong, Claudia Horbert, Kevin Houser, Sabine Hürrig, Ashok Iyer, Davina Jackson, Thomas Jantscher, Jan Jennings, Noah Kalina, Bernhard Knaus, Thomas Kotzur, Simone Kraft, Michael Kröger, Agnes Krüger, Thomas Krumm, William Lam, Karin Lehmann, Dieter Leistner, Sascha Lense, Andres Lepik, Maren Leudesdorff, David Levenson, Hao Luoxi, Margaret Maile, Stephen Margulies, Estudio Mariscal, Thomas Mayer, Diana Möllenbeck, Veronika Monheim, Stephane Muratet, Birgit Nelissen, Dietrich Neumann, Jin-Wie Nie, Carolin Oelsner, Werner Osterhaus, Konstantinos Papamichael, Jens Passoth, Enrique Peiniger, Karl-Heinz Petzinka, Derek Porter, Vanessa Quirk, Ursula Raffelt, Riklef Rambow, Mark Rea, Christoph Reinhart, Peter Richter, Christian Richters, Alexander Ring, Thomas Römhild, Alexander Rümmele, Lukas Schaller, Christoph Schierz, Jeff Schnabel, Nona Schulte-Roemer, Kai Schuster, Susanne Seitinger, Jochen Siegemund, Tom Sillack, David Singer, Charles Stone, Tan Szue Hann, Mariko Takagi, Maria Thompson, Clemens Tropp, Dzmitry Tsishkou, Philippe Ulmann, Henk van der Geest, Jennifer Veitch, Marc Wathieu, Bernd Weber, Roger Weber, Joachim Wessel, Frank Widemann, Andrea Wilkerson, Lin Yi, Stephan Zielke, Anne Ziesenitz Institutions Aachen University of Applied Sciences, Aarhus University, Akademie für Kommunikationsdesign Köln, Bauhaus University Weimar, Bochum University of Applied Sciences, Bremen University of Applied Sciences, Brown University, California Lighting Technology Center, Center for Economics and Neuroscience, China Central Academy of Fine Arts Beijing, Chung Yuan Christian University, Coburg University of Applied Sciences, Columbia University, Cooper Union, Cornell University, Darmstadt University of Applied Sciences, Darmstadt University of Technology, Dortmund University, Dresden University of Technology, École polytechnique fédérale de Lausanne, Eindhoven University of Technology, Forschungsstelle Automobilwirtschaft, Harvard Graduate School of Design, Illuminating Engineering Society of North America, Ilmenau University of Technology, International Association of Lighting Designers , Karlsruhe Institute of Technology, King Mongkut's University of Technology Thonburi, KTH Royal Institute of Technology, Ludwig Maximilian University of Munich, Manipal University Dubai, Marta Herford, Massachusetts Institute of Technology, MIT Media Lab , Münster University of Applied Sciences, Nürtingen-Geislingen University of Applied Science, Parsons The New School for Design, Pennsylvania State University, Peter Behrens School of Architecture, Portland State University, Princeton University, Professional Lighting Designers' Association, Rensselaer Polytechnic Institute, Shanghai Illuminating Engineering Society, Singapore Institute of Architects, Sydney University of Technology, Technical University of Munich, Temasek Design School, Tongji University, Université catholique de Louvain, University of Applied Sciences Bochum, University of Applied Sciences Cologne, University of Applied Sciences Mainz, University of Applied Sciences Stuttgart, University of Göttingen, University of Sheffield, University of Siegen, University of Technology Sydney, University of Wuppertal, Wismar University of Technology, Business and Design, Yale University Companies Aldi Nord, Allmann Sattler Wappner, Apple, Aral, Arc Light Design, ArchDaily, archithese, ATP Architekten und Ingenieure, Audi, Barthel & Maus, Bernhard Knaus Fine Art, BMW, Citti, Commerzbank, CUA Architekten, Daimler, Dexia, Dial, Diesel, Dinse Feest Zurl Architekten, Edeka, EHI Retail Institute, Electric Gobo, Engelhardt/Sellin Architekturfotografie, ERCO, Esprit, Europcar, Fisher Marantz Stone, Focus Lighting, Ford, Galleria Department Store, Hagen Stier Architektur + Fotografie, Hertz, Hollister, Horten, ION Orchard, Jason Bruges Studio, KiK, Kohn Pedersen Fox, Kramm & Strigl, La Rinascente, Lanzillotta Translations, Leonardo, Lifschutz Davidson Sandilands, Louis Vuitton, Mazda, Mini, Motel One, MPREIS, Mr. Wash, Niessing Manufaktur, Nordic Light Hotel, Nordsee GmbH, Office for Visual Interaction, One Lux Studio, Opel, Pimkie, Pimsler Hoss Architects, Porsche, realities:united, RKW Architektur + Städtebau, Saab, Saturn, Selux, Sixt, Speirs + Major, Street One, Swarovski, Tchibo, Telekom, Tom Tailor, UN Studio, Viceroy Hotel Group, Vobis, Volkswagen, W Hotel, Zara, Zeilgalerie
for the invaluable support
Thank you
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Image credits
43
1: La Rinascente, Mailand, 2007, © Lifschutz Davidson Sandilands, Chris Gascoigne; photo: Chris Gascoigne. 3: American Eagle; photo: Schielke. 4: Huntington Beach, 2013; photo: Schielke. Eye, Wikimedia Commons; photo: Rotfloleb. American Eagle. photo: Schielke. 5: Citroen: Wikimedia Commons; photo: Unknown. Tankstellen, 1998-2001. Photo: Ralf Peters. © Bernhard Knaus Fine Art. Adidas, 2008; photo: Schielke. 6: Aldi Nord, 2006, Wikimedia Common; photo: Kira Nerys. Edeka. Ingolstadt, 2007, ATP Architekten und Ingenieure; photo: Engelhardt/Sellin Architekturfotografie, München. La Rinascente, Mailand, 2007, © Lifschutz Davidson Sandilands, Chris Gascoigne; photo: Chris Gascoigne. 7-8, 28: Multifunctional room, © ERCO, Author: Axel Groß. 10: Beijing, 2013; photo: Schielke. 11: Piktograms, © ERCO. Author: Simone Heinze / ERCO. 13, 17, 18, 29: Neutral interior space, © ERCO; photo: Alexander Ring / ERCO. 13: Department store, © ERCO; Author: Axel Groß. Sixt, Berlin, 2008; photo: Schielke. Porsche Museum, Stuttgart, 2009; photo: Schielke. 14-15: Lighting simulation; © ERCO; Author: Axel Groß. 16, 18-29: Piktograms, © ERCO. Author: Simone Heinze / ERCO. 17: Survey; photo: Schielke. 18: Display screen iMac, © Apple. Image editing: Schielke. 20-24: Fashion retail stores; Author: Maren Leudesdorff / KTH Stockholm. 27: KiK Rostock, 2012. © Citti-Park. Zara. Barcelona, © ERCO; photo: Thomas Mayer. Saturn, Apple, Lüdenscheid, 2007; photo: Schielke. Apple Store Tysons Corner, McLean/VA, 2001, © Apple. 28: Material simulation, © ERCO, Author: Christian Hofmann. 30: BMW Hamburg, 2010, © Dinse Feest Zurl Architekten; photo: Hagen Stier Architektur + Fotografie. 31: Volkswagen Kassel, 2001, © Barthel & Maus GmbH; photo: Barthel & Maus GmbH. 32-35: Mannequins; photo: Schielke. 36: Zara, München, 2007, © ERCO; photo: Frank Widemann. 37: MPreis, Telfs, 2001, © MPreis; photo: Thomas Jantscher. 38: Brain, © istockphoto; image: Yakobchuk. 39: Lego store, Dubai; photo: Schielke