Why light needs darkness
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0:00 - 0:03There's a beautiful statement on the screen
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0:03 - 0:06that says, "Light creates ambiance,
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0:06 - 0:09light makes the feel of a space,
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0:09 - 0:13and light is also the expression of structure."
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0:13 - 0:15Well that was not by me.
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0:15 - 0:17That was, of course, by Le Corbusier,
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0:17 - 0:19the famous architect.
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0:19 - 0:21And here you can see what he meant
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0:21 - 0:24in one of his beautiful buildings --
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0:24 - 0:28the chapel Notre Dame du Haut, Ronchamp --
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0:28 - 0:30where he creates this light
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0:30 - 0:33that he could only make because there's also dark.
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0:33 - 0:36And I think that is the quintessence
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0:36 - 0:39of this 18-minute talk --
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0:39 - 0:42that there is no good lighting
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0:42 - 0:45that is healthy and for our well-being
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0:45 - 0:47without proper darkness.
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0:49 - 0:52So this is how we normally would light our offices.
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0:52 - 0:54We have codes and standards
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0:54 - 0:57that tell us that the lights should be so much lux
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0:57 - 0:59and of great uniformity.
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0:59 - 1:02This is how we create uniform lighting
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1:02 - 1:04from one wall to the other
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1:04 - 1:07in a regular grid of lamps.
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1:07 - 1:09And that is quite different
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1:09 - 1:11from what I just showed you
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1:11 - 1:13from Le Corbusier.
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1:13 - 1:15If we would apply these codes and standards
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1:15 - 1:17to the Pantheon in Rome,
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1:17 - 1:19it would never have looked like this,
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1:19 - 1:21because this beautiful light feature
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1:21 - 1:24that goes around there all by itself
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1:24 - 1:26can only appear
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1:26 - 1:29because there is also darkness in that same building.
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1:30 - 1:33And the same is more or less what Santiago Calatrava said
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1:33 - 1:36when he said, "Light: I make it in my buildings
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1:36 - 1:38for comfort."
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1:38 - 1:41And he didn't mean the comfort of a five-course dinner
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1:41 - 1:43as opposed to a one-course meal,
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1:43 - 1:45but he really meant the comfort
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1:45 - 1:48of the quality of the building for the people.
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1:48 - 1:50He meant that you can see the sky
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1:50 - 1:53and that you can experience the sun.
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1:53 - 1:56And he created these gorgeous buildings
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1:56 - 1:58where you can see the sky,
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1:58 - 2:00and where you can experience the sun,
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2:00 - 2:03that give us a better life in the built environment,
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2:03 - 2:06just because of the relevance of light
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2:06 - 2:10in its brightness and also in its shadows.
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2:10 - 2:13What it all boils down to is, of course, the sun.
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2:13 - 2:16And this image of the sun may suggest
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2:16 - 2:19that the sun is something evil and aggressive,
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2:19 - 2:22but we should not forget that all energy on this planet
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2:22 - 2:24actually comes from the sun,
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2:24 - 2:27and light is only a manifestation
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2:27 - 2:29of that energy.
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2:29 - 2:32The sun is for dynamics, for color changes.
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2:32 - 2:35The sun is for beauty in our environment,
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2:35 - 2:37like in this building --
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2:37 - 2:39the High Museum in Atlanta,
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2:39 - 2:41which has been created by Renzo Piano from Italy,
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2:41 - 2:44together with Arup Lighting,
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2:44 - 2:46a brilliant team of lighting designers,
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2:46 - 2:48who created
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2:48 - 2:51a very subtle modulation of light
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2:51 - 2:53across the space,
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2:53 - 2:55responding to what the sun does outside,
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2:55 - 2:58just because of all these beautiful openings in the roof.
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2:58 - 3:00So in an indirect way,
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3:00 - 3:02you can see the sun.
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3:02 - 3:04And what they did
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3:04 - 3:06is they created an integral building element
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3:06 - 3:09to improve the quality of the space
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3:09 - 3:11that surrounds the visitors of the museum.
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3:11 - 3:13They created this shade
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3:13 - 3:15that you can see here,
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3:15 - 3:18which actually covers the sun,
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3:18 - 3:21but opens up to the good light from the sky.
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3:21 - 3:23And here you can see
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3:23 - 3:25how they really crafted a beautiful design process
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3:25 - 3:27with physical models,
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3:27 - 3:30with quantitative, as well as qualitative, methods
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3:30 - 3:33to come to a final solution
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3:33 - 3:35that is truly integrated and completely holistic
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3:35 - 3:37with the architecture.
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3:37 - 3:39They allowed themselves a few mistakes along the way.
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3:39 - 3:41As you can see here, there's some direct light on the floor,
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3:41 - 3:44but they could easily figure out where that comes from.
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3:44 - 3:48And they allow people in that building
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3:48 - 3:50to really enjoy the sun,
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3:50 - 3:52the good part of the sun.
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3:52 - 3:54And enjoying the sun
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3:54 - 3:57can be in many different ways, of course.
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3:57 - 3:59It can be just like this,
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3:59 - 4:02or maybe like this, which is rather peculiar,
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4:02 - 4:04but this is in 1963 --
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4:04 - 4:06the viewing of a sun eclipse
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4:06 - 4:08in the United States.
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4:08 - 4:11And it's just a bit bright up there,
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4:11 - 4:14so these people have found a very intriguing solution.
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4:15 - 4:17This is, I think, a very illustrative image of what I try to say --
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4:17 - 4:20that the beautiful dynamics of sun,
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4:20 - 4:22bringing these into the building,
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4:22 - 4:25creates a quality of our built environment
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4:25 - 4:27that truly enhances our lives.
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4:27 - 4:29And this is all about darkness
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4:29 - 4:31as much as it is about lightness, of course,
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4:31 - 4:34because otherwise you don't see these dynamics.
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4:34 - 4:37As opposed to the first office that I showed you
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4:37 - 4:39in the beginning of the talk,
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4:39 - 4:42this is a well-known office, which is the White Group.
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4:42 - 4:45They are in green energy consulting, or something like that.
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4:45 - 4:47And they really practice what they preach
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4:47 - 4:50because this office doesn't have any electric lighting at all.
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4:50 - 4:52It has only on one side
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4:52 - 4:54this big, big glass window
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4:54 - 4:56that helps to let the sunlight enter
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4:56 - 4:58deep into the space
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4:58 - 5:01and create a beautiful quality there and a great dynamic range.
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5:01 - 5:04So it can be very dim over there, and you do your work,
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5:04 - 5:07and it can be very bright over there, and you do your work.
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5:07 - 5:09But actually the human eye
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5:09 - 5:11turns out to be remarkably adaptable
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5:11 - 5:13to all these different light conditions
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5:13 - 5:15that together create an environment
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5:15 - 5:17that is never boring and that is never dull,
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5:17 - 5:20and therefore helps us to enhance our lives.
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5:21 - 5:24I really owe a short introduction of this man to you.
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5:24 - 5:26This is Richard Kelly
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5:26 - 5:28who was born 100 years ago,
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5:28 - 5:30which is the reason I bring him up now,
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5:30 - 5:32because it's kind of an anniversary year.
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5:32 - 5:35In the 1930s, Richard Kelly was the first person
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5:35 - 5:37to really describe
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5:37 - 5:39a methodology of modern lighting design.
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5:39 - 5:41And he coined three terms,
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5:41 - 5:43which are "focal glow,"
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5:43 - 5:45"ambient luminescence"
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5:45 - 5:47and "play of the brilliants" --
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5:47 - 5:49three very distinctly different
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5:49 - 5:51ideas about light in architecture
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5:51 - 5:53that all together
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5:53 - 5:55make up this beautiful experience.
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5:55 - 5:57So you begin with focal glow.
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5:57 - 5:59He meant something like this --
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5:59 - 6:01where the light gives direction to the space
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6:01 - 6:03and helps you to get around.
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6:03 - 6:05Or something like this, which is the lighting design he did
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6:05 - 6:07for General Motors, for the car showroom.
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6:07 - 6:09And you enter that space,
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6:09 - 6:12and you feel like, "Wow! This is so impressive,"
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6:12 - 6:14just because of this focal point,
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6:14 - 6:16this huge light source in the middle.
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6:16 - 6:18To me it is something from theatre,
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6:18 - 6:20and I will get back to that a little bit later.
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6:20 - 6:22It's the spotlight on the artist
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6:22 - 6:24that helps you to focus.
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6:24 - 6:27It could also be the sunlight that breaks through the clouds
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6:27 - 6:30and lights up a patch of the land,
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6:30 - 6:32highlighting it
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6:32 - 6:35compared to the dim environment.
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6:35 - 6:38Or it can be in today's retail, in the shopping environment --
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6:38 - 6:40lighting the merchandise
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6:40 - 6:43and creating accents that help you to get around.
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6:43 - 6:46Ambient luminescence is something very different.
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6:46 - 6:49Richard Kelly saw it as something infinite,
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6:49 - 6:51something without any focus,
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6:51 - 6:53something where all details
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6:53 - 6:56actually dissolve in infinity.
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6:56 - 6:59And I see it as a very comfortable kind of light
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6:59 - 7:01that really helps us to relax
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7:01 - 7:03and to contemplate.
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7:03 - 7:05It could also be something like this:
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7:05 - 7:08the National Museum of Science in London,
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7:08 - 7:10where this blue
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7:10 - 7:12is embracing all the exhibitions and galleries
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7:12 - 7:15in one large gesture.
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7:15 - 7:18And then finally, Kelly's play of brilliants attitude,
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7:18 - 7:22that really some play of the skyline of Hong Kong,
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7:22 - 7:24or perhaps the chandelier in the opera house,
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7:24 - 7:26or in the theater here,
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7:26 - 7:28which is a decoration,
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7:28 - 7:30the icing on the cake, something playful,
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7:30 - 7:32something that is just an addition
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7:32 - 7:35to the architectural environment, I would say.
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7:35 - 7:37These three distinct elements,
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7:37 - 7:39together, make a lighting environment
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7:39 - 7:41that helps us to feel better.
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7:41 - 7:43And we can only create these out of darkness.
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7:43 - 7:45And I will explain that further.
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7:45 - 7:48And I guess that is something that Richard Kelly, here on the left,
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7:48 - 7:51was explaining to Ludwig Mies Van der Rohe.
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7:51 - 7:53And behind them, you see that Seagram Building
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7:53 - 7:55that later turned into
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7:55 - 7:58an icon of modern lighting design.
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7:59 - 8:01Those times, there were some early attempts
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8:01 - 8:03also for light therapy already.
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8:03 - 8:06You can see here a photo from the United States Library of Medicine,
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8:06 - 8:09where people are put in the sun to get better.
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8:09 - 8:11It's a little bit of a different story,
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8:11 - 8:13this health aspect of light,
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8:13 - 8:15than what I'm telling you today.
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8:15 - 8:17In today's modern medicine,
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8:17 - 8:20there is a real understanding of light
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8:20 - 8:23in an almost biochemical way.
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8:23 - 8:25And there is the idea
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8:25 - 8:27that, when we look at things,
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8:27 - 8:30it is the yellow light that helps us the most,
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8:30 - 8:32that we are the most sensitive for.
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8:32 - 8:34But our circadian rhythms,
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8:34 - 8:36which are the rhythms that help us to wake and sleep
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8:36 - 8:39and be alert and relaxed and so forth and so on,
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8:39 - 8:42they are much more triggered by blue light.
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8:42 - 8:44And by modulating the amount of blue
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8:44 - 8:46in our environment,
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8:46 - 8:49we can help people to relax, or to be alert,
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8:49 - 8:52to fall asleep, or to stay awake.
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8:52 - 8:54And that is how,
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8:54 - 8:56maybe in the near future,
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8:56 - 8:58light can help hospitals
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8:58 - 9:01to make people better sooner,
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9:01 - 9:03recover them quicker.
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9:03 - 9:05Maybe in the airplane,
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9:05 - 9:07we can overcome jet lag like that.
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9:07 - 9:10Perhaps in school, we can help children to learn better
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9:10 - 9:13because they concentrate more on their work.
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9:13 - 9:15And you can imagine a lot more applications.
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9:15 - 9:17But I would like to talk further
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9:17 - 9:19about the combination
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9:19 - 9:22of light and darkness
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9:22 - 9:25as a quality in our life.
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9:26 - 9:29So light is, of course, for social interaction also --
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9:29 - 9:31to create relationships
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9:31 - 9:33with all the features around us.
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9:33 - 9:36It is the place where we gather around
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9:36 - 9:38when we have to say something to each other.
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9:38 - 9:40And it is all about this planet.
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9:40 - 9:43But when you look at this planet at night, it looks like this.
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9:43 - 9:45And I think this is the most shocking image
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9:45 - 9:47in my talk today.
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9:47 - 9:49Because all this light here
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9:49 - 9:51goes up to the sky.
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9:51 - 9:53It never reaches the ground
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9:53 - 9:55where it was meant for.
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9:55 - 9:57It never is to the benefit of people.
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9:57 - 9:59It only spoils the darkness.
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9:59 - 10:02So at a global scale, it looks like this.
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10:02 - 10:05And, I mean, that is quite amazing, what you see here --
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10:05 - 10:08how much light goes up into the sky
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10:08 - 10:10and never reaches the ground.
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10:10 - 10:13Because if we look at the Earth the way it should be,
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10:13 - 10:16it would be something like this very inspiring image
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10:16 - 10:18where darkness is for our imagination
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10:18 - 10:20and for contemplation
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10:20 - 10:23and to help us to relate to everything.
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10:23 - 10:25The world is changing though,
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10:25 - 10:27and urbanization is a big driver of everything.
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10:27 - 10:30I took this photo two weeks ago in Guangzhou,
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10:30 - 10:32and I realized that 10 years ago,
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10:32 - 10:36there was nothing like this, of these buildings.
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10:36 - 10:38It was just a much smaller city,
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10:38 - 10:40and the pace of urbanization
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10:40 - 10:42is incredible and enormous.
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10:42 - 10:45And we have to understand these main questions:
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10:45 - 10:48How do people move through these new urban spaces?
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10:48 - 10:50How do they share their culture?
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10:50 - 10:52How do we tackle things like mobility?
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10:52 - 10:54And how can light help there?
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10:54 - 10:56Because the new technologies,
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10:56 - 10:59they seem to be in a really interesting position
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10:59 - 11:02to contribute to the solutions of urbanization
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11:02 - 11:05and to provide us with better environments.
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11:05 - 11:07It's not that long ago
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11:07 - 11:09that our lighting was just done
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11:09 - 11:11with these kinds of lamps.
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11:11 - 11:13And of course, we had the metal halide lamps and fluorescent lamps
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11:13 - 11:15and things like that.
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11:15 - 11:17Now we have LED,
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11:17 - 11:19but here you see the latest one,
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11:19 - 11:21and you see how incredibly small it is.
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11:21 - 11:24And this is exactly what offers us a unique opportunity
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11:24 - 11:27because this tiny, tiny size
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11:27 - 11:30allows us to put the light wherever we really need it.
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11:30 - 11:32And we can actually leave it out where it's not needed at all
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11:32 - 11:34and where we can preserve darkness.
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11:34 - 11:37So that is a really interesting proposition, I think,
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11:37 - 11:40and a new way of lighting the architectural environment
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11:40 - 11:43with our well-being in mind.
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11:43 - 11:46The problem is though that I wanted to explain to you how this really works --
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11:46 - 11:49but I can have four of these on my finger,
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11:49 - 11:52so you would not to be able to really see them.
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11:52 - 11:54So I asked our laboratory to do something about it,
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11:54 - 11:56and they said, "Well, we can do something."
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11:56 - 11:59They created for me the biggest LED in the world
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11:59 - 12:01especially for TEDx in Amsterdam.
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12:01 - 12:03So here it is.
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12:03 - 12:06It's the same thing as you can see over there -- just 200 times bigger.
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12:06 - 12:09And I will very quickly show you how it works.
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12:09 - 12:12So just to explain.
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12:13 - 12:17Now, every LED that is made these days
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12:17 - 12:19gives blue light.
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12:19 - 12:22Now this is not very pleasant and comfortable.
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12:22 - 12:24And for that reason,
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12:24 - 12:27we cover the LED
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12:27 - 12:29with a phosphor cap.
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12:29 - 12:32And the phosphor is excited by the blue
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12:32 - 12:35and makes the light white and warm and pleasant.
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12:35 - 12:38And then when you add the lens to that,
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12:38 - 12:41you can bundle the light and send it to wherever you need it
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12:41 - 12:43without any need to spill any light
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12:43 - 12:45to the sky or anywhere else.
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12:45 - 12:48So you can preserve the darkness and make the light.
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12:48 - 12:50I just wanted to show that to you
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12:50 - 12:53so you understand how this works.
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12:54 - 12:56Thank you.
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12:56 - 12:58We can go further.
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12:58 - 13:01So we have to rethink the way we light our cities.
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13:01 - 13:03We have to think again
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13:03 - 13:05about light as a default solution.
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13:05 - 13:07Why are all these motorways permanently lit?
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13:07 - 13:09Is it really needed?
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13:09 - 13:11Can we maybe be much more selective
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13:11 - 13:14and create better environments that also benefit from darkness?
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13:14 - 13:16Can we be more gentle with light?
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13:16 - 13:19Like here -- this is a very low light level actually.
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13:19 - 13:21Can we engage people more
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13:21 - 13:23in the lighting projects that we create,
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13:23 - 13:26so they really want to connect with it, like here?
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13:26 - 13:28Or can we create simply sculptures
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13:28 - 13:30that are very inspiring to be in and to be around?
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13:30 - 13:32And can we preserve the darkness?
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13:32 - 13:35Because to find a place like this today on Earth
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13:35 - 13:38is really very, very challenging.
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13:38 - 13:41And to find a starry sky like this is even more difficult.
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13:41 - 13:44Even in the oceans, we are creating a lot of light
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13:44 - 13:47that we could actually ban also for animal life
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13:47 - 13:49to have a much greater well-being.
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13:49 - 13:51And it's known that migrating birds, for example,
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13:51 - 13:53get very disoriented
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13:53 - 13:55because of these offshore platforms.
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13:55 - 13:57And we discovered that, when we make those lights green,
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13:57 - 13:59the birds, they actually go the right way.
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13:59 - 14:02They are not disturbed anymore.
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14:02 - 14:04And it turns out once again
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14:04 - 14:06that spectral sensitivity
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14:06 - 14:08is very important here.
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14:08 - 14:11In all of these examples, I think,
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14:11 - 14:14we should start making the light out of darkness,
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14:14 - 14:16and use the darkness as a canvas --
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14:16 - 14:18like the visual artists do,
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14:18 - 14:20like Edward Hopper in this painting.
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14:20 - 14:23I think that there is a lot of suspense in this painting.
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14:23 - 14:25I think, when I see it,
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14:25 - 14:27I start to think, who are those people?
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14:27 - 14:29Where have they come from? Where are they going?
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14:29 - 14:32What just happened? What will be happening in the next five minutes?
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14:32 - 14:35And it only embodies all these stories and all this suspense
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14:35 - 14:37because of the darkness and the light.
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14:37 - 14:39Edward Hopper was a real master
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14:39 - 14:41in creating the narration
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14:41 - 14:43by working with light and dark.
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14:43 - 14:45And we can learn from that
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14:45 - 14:48and create more interesting and inspiring architectural environments.
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14:48 - 14:51We can do that in commercial spaces like this.
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14:51 - 14:53And you can still also go outside
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14:53 - 14:58and enjoy the greatest show in the universe,
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14:58 - 15:01which is, of course, the universe itself.
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15:02 - 15:05So I give you this wonderful, informative
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15:05 - 15:08image of the sky,
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15:08 - 15:10ranging from the inner city,
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15:10 - 15:13where you may see one or two stars and nothing else,
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15:13 - 15:15all the way to the rural environments,
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15:15 - 15:17where you can enjoy
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15:17 - 15:20this great and gorgeous and beautiful performance
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15:20 - 15:22of the constellations and the stars.
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15:22 - 15:25In architecture, it works just the same.
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15:25 - 15:28By appreciating the darkness when you design the light,
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15:28 - 15:31you create much more interesting environments
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15:31 - 15:34that truly enhance our lives.
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15:34 - 15:36This is the most well-known example,
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15:36 - 15:38Tadao Ando's Church of Light.
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15:38 - 15:40But I also think
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15:40 - 15:44of Peter Zumthor's spa in Vals,
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15:44 - 15:47where light and dark, in very gentle combinations,
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15:47 - 15:49alter each other to define the space.
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15:49 - 15:52Or Richard McCormack's Southern tube station in London,
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15:52 - 15:54where you can really see the sky,
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15:54 - 15:57even though you are under the ground.
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15:57 - 15:59And finally I want to point out
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15:59 - 16:01that a lot of this inspiration comes from theater.
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16:01 - 16:05And I think it's fantastic that we are today experiencing TEDx
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16:05 - 16:08in a theater for the first time
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16:08 - 16:12because I think we really owe to the theater a big thanks.
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16:12 - 16:14It wouldn't be such an inspiring scenography
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16:14 - 16:16without this theater.
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16:16 - 16:19And I think the theater is a place
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16:19 - 16:22where we truly enhance life with light.
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16:22 - 16:24Thank you very much.
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16:24 - 16:30(Applause)
- Title:
- Why light needs darkness
- Speaker:
- Rogier van der Heide
- Description:
-
Lighting architect Rogier van der Heide offers a beautiful new way to look at the world -- by paying attention to light (and to darkness). Examples from classic buildings illustrate a deeply thought-out vision of the play of light around us.
- Video Language:
- English
- Team:
- closed TED
- Project:
- TEDTalks
- Duration:
- 16:31
Krystian Aparta commented on English subtitles for Why light needs darkness | ||
Krystian Aparta edited English subtitles for Why light needs darkness | ||
Krystian Aparta edited English subtitles for Why light needs darkness | ||
Joanna Pietrulewicz edited English subtitles for Why light needs darkness | ||
Joanna Pietrulewicz edited English subtitles for Why light needs darkness | ||
Joanna Pietrulewicz edited English subtitles for Why light needs darkness | ||
TED edited English subtitles for Why light needs darkness | ||
TED added a translation |
Krystian Aparta
The English transcript was updated on 1/4/2016. At 04:39, "the White Group" was changed to "the Weidt Group." At 15:34, "Church of Light" was changed to "Church of the Light." At 15:49, "Richard McCormack's" was changed to "Richard MacCormac's."