Part 2 - Thinking about "good light" from three perspectives -

In the first part, we explained good light from the perspectives of "physiology" and "psychology," but this time we will talk about good light from three perspectives: "environment," "culture," and "activity."
"Environment" looks at how natural light affects our health and well-being, and "Culture" looks at how light relates to beliefs and traditions.
In "Activities," we will look at how the way people use lighting is changing in their activities.

What are environmental influences?

The definition of good light also varies greatly depending on the region and its environment.

For example, in Scandinavian countries, there is a lack of sunlight for long periods of time, so people are more conscious of natural light and tend to prefer large windows.
Also, in cold countries, the importance of warm lighting is probably unrelated to the fact that there are long cold periods throughout the year.
For people living in tropical regions, bright, warm sunlight is a given, but for people living in colonial Europe, who suffered from sunstroke, the intense sunlight and the heat that came with it took a toll on their bodies. It seems like it was a troublesome presence.

There is a famous line from Nobel Prize winning author Camus's masterpiece, The Stranger, in which the main character says, "Because the sun was bright," as the reason he committed murder.
This is often interpreted as an emotional murder caused by the physical and mental discomfort caused by the bright and dazzling African (the setting is Algeria) sunlight.

The definition of good light can thus change depending on the environment.
Environment and culture play an important role in the perception and evaluation of light.
People tend to evaluate "good light" according to the environment in which they live.

What is the influence of culture?

Cultural and social influences also have a significant impact on the perception of good light.
Preferences and evaluations of light often differ from culture to culture.

Many Western cultures place a high value on bright, vibrant light, which is said to have an energizing and stimulating effect.
Religious and festival rituals are also influenced by light.

Especially in Western Christianity, light has an important meaning as a symbol of holiness, revelation, and truth.
Light represents liberation from darkness and ignorance, and is said to indicate the attainment of knowledge and revelation.

For example, it is believed that the stained glass in churches, created by the transmission and reflection of light, deepens faith and enriches meditation and prayer.
Stained glass brings peace of mind and emotion to believers, and plays the role of strengthening religious connections.
On the other hand, Japanese culture favors soft, gentle light, which promotes relaxation and introspection.
For example, literary great Junichiro Tanizaki's masterpiece "In Praise of Shadows" passionately describes how the soft light shining through shoji screens brings peace to the hearts of Japanese people.
Shoji screens, blinds, and paper lanterns can be said to be a uniquely Japanese way of dealing with light.

Additionally, in some cultures and religions in tropical regions where the sun's rays are strong and the daylight hours long, there are many regions where the sun is considered sacred.
As symbolized by the ancient Inca Empire, the sun was considered to be the source of life and was revered as an object of faith.
In areas with strong sunlight, sunlight is often associated with sacred beings and has special meaning for people.

Thus, environmental and cultural influences greatly influence individual preferences and needs in light evaluation.
People are influenced by the environment and culture in which they were raised, and they tend to seek a lighting environment that matches that.

Light selection according to activity

The role played by light can also vary depending on people's activities and situations.
Therefore, the characteristics of light are often adjusted to suit the needs of individuals and communities.

A good example of this is the preference for bright, cool light for activities that require concentration, such as working or studying.
Bright lighting is thought to wake you up and improve concentration and alertness.
In particular, people who perform detailed work or information processing need clear vision, and bright lighting is expected to improve visual performance.
On the other hand, light with a cool color temperature is said to have the effect of increasing alertness and improving work efficiency and productivity.

On the other hand, activities that require relaxation and comfort favor softer, warmer light.
Soft light relieves tension and has a relaxing effect.
Light with a warm color temperature creates a sense of comfort and security, and can provide a sense of psychological stability.

We may also adjust the lighting effects depending on the specific activity or location.
For example, a restaurant must bring out the vibrancy and appeal of its products and ingredients.
Art museums and theaters require a lighting environment that maximizes the atmosphere and expression of exhibits and performances.
In these places, it is often seen that specific effects and atmospheres are created by finely adjusting the brightness, color, and distribution of light.

In this way, the definition of good light changes depending on human activities and situations.

The definition of good light varies depending on the person and the conditions.
The definition of good light changes depending on a variety of influences, including physiological and psychological effects, environmental and cultural influences, and the selection of light depending on the activity.
The key is for each individual to create a light environment that suits their needs and preferences.
Creating a comfortable and productive environment requires an understanding of light and appropriate adjustments.



Written by: BARREL Editorial Department
Supervised by: Yuki Oe (Lecturer, Department of Lifestyle Design, Faculty of Human Culture, University of Shiga Prefecture)
Lecturer at the University of Shiga Prefecture, Faculty of Human Culture (Department of Lifestyle Design).
She specializes in architectural environments, light environments, lighting environments, and color environments.
She is a member of the Architectural Institute of Japan/Illumination Institute of Japan.
After completing her doctoral course at Nara Women's University Graduate School of Humanities, she worked in technology planning at Sharp.
She worked as an assistant professor in the Faculty of Science and Technology at Tokyo University of Science and as a part-time lecturer at Osaka Jonan Women's Junior College before reaching her current position.