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Is Track Lighting Really the Future?

So, it seems that after a day of reviewing photographs, sketches, drawings, and a video, we've decided that London's gallery lighting on the whole is really rather uninspired. Track lighting, embedded halogens, and the odd fluorescent strip seem to make up the not-so-vast array of lighting strategies currently used to illuminate this city's art.

I wanted to just post a few of your explorations, ideas, and techniques that were mentioned during today's conversation - and that you may want to refer to as you continue to develop your gallery documentation.

> documenting the disparity between night and daytime readings > the range of reflective to matt surfaces > the negative cast > thermal imaging > warm - cool light tones > carving illuminated space > the penetration and depth of light through various skin/surface thicknesses > registering light from screens (videos, TV’s, etc) > ceiling texture > becoming selective about registering lighting effects on only walls, ceilings, floors, or edges > light by numbers > Patrick’s colour patch test > folding paper to 'repair' ineffective lighting > grid distortion test > cloudy light > martin's ricocheted light > controlling light dissipation > motion > surface vs. volumetric registration of light > layered light > boxing light > regularity of bulb change and resultant lighting effect > transition from natural to artificial light <

A reminder that you should bring 2 A2's on Friday - and we'll meet in the AA Bar and then walk over to Morwell Street room 1.05 from there.

The image below is the one I mentioned today by photographer Andreas Gursky - it’s a shot of the ceiling of the General Assembly in Niemeyer’s Brasilia.