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Hotspot | Light

research

Effect
Lighting artist Richard Kelly noted that a major apparent light area below eye-level induces "a feeling of individual human importance."1 A Hotspot delineates a separate volume in the space; it defines place by creating a "private and intimate realm" without interior walls. In Light Revealing Space, author Marietta Millet argues that a single pool of light in a dark space can be regarded as a maker of a room, the most basic definition of "inside."2 In the words of theorist Thomas Thiis-Evensen a single pool of light in a dark space embodies the qualities of a "centrum," the place holding the essence of the space; Thiis-Evensen believes that this lighting practice offers the greatest sense of security and control. A centrum distinguishes inside from outside, denotes arrival at "here" from "there" and invokes  the ultimate secure interior from the attacking exterior.3 There are two aspects to experiencing the isolated place created by Hotspot lighting: from inside the light and from the outside. This can be explored in the sequence of movement from outside the light to inside, and then outside again.

Hotspot is used to define a spatial volume and serves as an anchor to surrounding compositions. It does not reveal the shape of an architectural envelope. The contrast between Hotspot and its surrounding light level determines the power of Hotspot to attract attention, to define a space or place, and also it affects a person's awareness about movement.

Movement
The relatively bright area attracts one's attention from afar, so that as one moves toward the circular shape of the light; the effect is of a self-centering quality. The idea of arrival is also affected by the clarity (crispness) of the edges of the light pool, whether it has a fuzzy or stark transition from light to dark. In most cases, the clearer the edges of the light pool, the greater awareness one has of perceiving Hotspot as a space.

Once one arrives and stands or sits in the center of the pool of light, there is a sense of security and control that encourages pausing. People tend to collect in, or around, a pool of light. Spatially, a point created by light organizes surrounding elements around it and dominates its field.4

Having achieved the original goal of inward movement, efforts of movement are now directed outwards. The light transforms into a starting point of a new journey; consequently, Hotspot frequently marks junction points.

The perception of Hotspot also relates to the scale of the space that surrounds it. A light in close proximity occupies much more of one's field of vision and dominates a spatial experience.

Chronological Sequence
Hotspot has a long history as a practice that illuminates an area where people gather around and in a pool of light that makes a space; marks and dramatizes entry; delineates space in an open plan interior; and symbolizes sacred space.

The earliest and most dramatic manipulations of light in interior architecture are found in institutions concerned with the spiritual aspects of life.5In these interiors, light is used to "lead us beyond the finite and temporal, beyond our known experience in space and time."6 Although most of these institutions benefit from natural lighting, the arrival of electric illumination extended the possibilities of architectural expression. A Hotspot delineates the altar at Eglise le Sacré Coeur in France; the light is directed from a high angle.7  The interior of Christ Church in Oyster Bay (1995) relies on more artificial light than the Eglise le Sacré Coeur.8 Remodeled for the second time since 1878, a pool of light gives definition to the narthex as a gathering space on its own. The pool of light forms a line with the light from the stained glass in the apse, and marked the beginning of the procession down the congregation. This line was intersected by light along the crossing, recalling the traditional cruciform churches.

The focused Hotspot at the center of an entry encourages the visitor to pause before consciously moving out of the light, and towards the destination. A Hotspot marks the entry of the corporate apartment designed by Arthur Furber. The pool of light carves a dramatic room from an entry sequence comprised of various spaces. The focused Hotspot at the center of an entry encourages the visitor to pause before consciously moving out of the light, and towards the destination.

In the 1990s the application of Hotspot in entries became more dramatic, because the spaces became so tall and materials so luxurious. Like their 19th century counterparts, designers exploited the space that would form one's first impression. For example, one large pool of light framed between the dark walls marked the entry to the lounge in the Stardust-Sangu Restaurant in Japan.9 The light reflected off a mirrored ceiling to provide some ambient illumination. The dramatic contrast between light and dark spaces in the entry suggests that the remainder of the space would be a unique spatial experience.

In a corporate space, a Hotspot also was used to signify a meeting area. In f/X Networks Corporate Headquarters, Hotspot delineated an informal area created by beech chairs placed around a low table.

Hotspot also marked entry and junctions in domestically scaled interiors, such as the dental office of Dr. Maryam Mohammadi.10 A circle of light at the junction of the reception, the beverage bar and the door to a work room signals a transition from public to more private areas of the office. Despite ambient lighting, the light on the floor identifies the junction as a crucial stopping point on a circulation path.  

Hotspot has the capacity to gather people together in what may feel like a singular space. Many upscale restaurants introduce a glowing hotspot on a table that brings light to below one's eye-level and sets an intimate atmosphere. Hotspot is also found in lounges, and less frequently, in nightclubs.

In the restaurant Ropponji J, tables are tightly packed in a finite space. Nevertheless, circles of light centered on individual tables provide separate spheres for gathering. Despite its open plan, the low ambient light levels urged a quiet atmosphere. Privacy and intimacy were retained within each circle of light. Using lighting, the open plan became a field of small rooms.

In Micro (2005), the dining and dance area of the Cocoon Club in Frankfurt, focal glow at the table defines individual dining spaces that as the night progresses, becomes pockets for gathering and observing dancers and the brilliant lighting effects on the dance floor. Focal glow attracts people by identifying a place, a center around which space is organized.

The effect of Hotspot is as much about its darker surroundings as it is about the light. In his book In Praise of Darkness, Jun'ichiro Tanizaki condemned the excessive amount of light in many modern designs that "[serve] no function but to eradicate every trace of shadow." He called for the maintenance of darkness and the abandonment of light for light's sake.11 In some practice types, like workplace, Hotspot was largely abandoned in the 2000s, although the practice continues to be found primarily in hospitality and restaurant spaces where darkness is still valued for its ability to heighten drama and create intimate environments.12

end notes

  1. 1) Richard Kelly, “Lighting as an Integral Part of Architecture,” College Art Journal 12, no. 1(Autumn 1952), 30.
  2. 2) Marietta Millet, Light Revealing Architecture (New York: Van Nostrand Reinhold, 1996), 94-95, 102; quoting from Per Olaf Fjeld, Sverre Fehn, The Thought of Construction (New York: Rizzoli, 1983), 50.
  3. 3) Thomas Thiis-Evensen, Archetypes in Architecture (Oslo: Norwegian University Press, 1987), 120-21.
  4. 4) Francis D.K. Ching, Architecture, Form, Space and Order, 2nd ed. (New York: Van Nostrand Reinhold, 1996), 4.
  5. 5) Mark Major, Jonathan Speirs, Anthony Tischhauser, Made of Light: the Art of Light and Architecture (Basel: Birkhäuser, 2004), 25.
  6. 6) Millet, Light Revealing Architecture, 149.
  7. 7) Eglise le Sacré Coeur [1959] A. Le Donne and M. Patout; Mulhouse, France in Peter Hammond, "Churches, Modern Churches in Postwar France: Sacre Coeur, Mulhouse," Architectural Record 127, no. 7 (Jun. 1960): 204; PhotoCrd: Guillemaut.
  8. 8) Entry, Christ Church [1995] Gerald Allen and Jeffrey Harbinson Architects and Lighting Designers, architect; Hillmann DiBernardo & Associates, Inc., lighting designer; Oyster Bay, NY in Charles Linn, “Quiet Revival,” in Archtiectural Record 183, no. 5, Record Lighting (May 1995): 34; PhotoCrd: Adrian Vilicescu.
  9. 9) Entry, Stardust Lounge, Stardust-Sangu Restaurant [1994] Architect: Hiroshi Hara + Atelier, Interior/Lighting Designer; Interspace Time; Osaka, Japan in Clifford A. Pearson, "High-Wire Act," Record Lighting, Architectural Record 182, no. 2, (Feb. 1994): 38; PhotoCrd: Nacasa and Partners.
  10. 10) Beverage Bar and Reception Area, Dr. Maryam Mohammadi's Dental Office [2003] Forma Design; McLean, VA in Monica Geran, "In Toothsome Color," Interior Design 74, no. 14 (Nov. 2003): 92; PhotoCrd: Jeffrey Hodgdon.
  11. 11) Jun'ichiro Tanizaki, In Praise of Shadows (New Haven, Conn.: Leete's Island Books, 1977), 37.
  12. 12) Evidence for the use and the chronological sequence of Hotspot as an artificial lighting archetype was developed from the following published trade sources: 1950 Eglise le Sacré Coeur [1959] / 1960 A. Le Donne and M. Patout; Mulhouse, France in Peter Hammond, "Churches, Modern Churches in Postwar France: Sacre Coeur, Mulhouse," Architectural Record 127, no. 7 (Jun. 1960): 204; PhotoCrd: Guillemaut / 1990 Entry, Christ Church [1995] Gerald Allen and Jeffrey Harbinson Architects and Lighting Designers, architect; Hillmann DiBernardo & Associates, Inc., lighting designer; Oyster Bay, NY in Charles Linn, "Quiet Revival," in Archtiectural Record 183, no. 5, Record Lighting (May 1995): 34; PhotoCrd: Adrian Vilicescu; Entry, Stardust Lounge, Stardust-Sangu Restaurant [1994] Architect: Hiroshi Hara + Atelier, Interior/Lighting Designer; Interspace Time; Osaka, Japan in Clifford A. Pearson, "High-Wire Act," Record Lighting, Architectural Record 182, no. 2, (Feb. 1994): 38; PhotoCrd: Nacasa and Partners / 2000 Beverage Bar and Reception Area, Dr. Maryam Mohammadi's Dental Office [2003] Forma Design; McLean, VA in Monica Geran, "In Toothsome Color," Interior Design 74, no. 14 (Nov. 2003): 92; PhotoCrd: Jeffrey Hodgdon; 11 Jun'ichiro Tanizaki , In Praise of Shadows (New Haven, Conn.: Leete's Island Books, 1977), 37.

bibliographic citations

1) The Interior Archetypes Research and Teaching Project, Cornell University, www.intypes.cornell.edu (accessed month & date, year).

2) Kwan, Joanne. "Theory Studies: Archetypical Artificial Lighting Practices in Contemporary Interior Design." M.A. Thesis, Cornell University, 2009, 40-51.