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NORDIC LIGHT & COLOUR
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the virtual becoming actual. As Grosz explains it: ”[o]ur percep-
tion is a measure of our virtual action upon things. The present,
as that which is oriented towards both perception and action, is
the threshold of their interaction and thus the site of duration.
The present consists in the consciousness I have of my body”
(Grosz 2001:121). Consequently the modality of presence be-
comes an ever transforming extended now, a mode of duration,
where the ”[d]uration […] is a mode of ”hesitation”, […], unfold-
ing, or emergence” (Grosz 2001:114). In the extreme version of
exploratory engagement, we could say that the virtual time and
virtual space become mutually generative, where intensities of
both spatialization and temporalization is mutually generated
and modified within the investigatory activity.
A further perspective could be to develop models for ”virtual
time becoming virtual space” (Grosz 2001:120), enabling analy-
sis of futurities and other alternate actualities. The systematic
experiential engagement generates a self-reflective presence,
which enables a testing ground for ‘thoughts’ across time and
space parameters. That is a staged explorative design condi-
tion where the complex relations between the designed and
the experienced can be interrogated. The question is how the
world is experienced while in action, and how these insights
might inform transient perspectives and enable thinking of the
experiential in architectural invention and experimentation.
If we image an involvement in spatial investigations where the
detailed fixation and measurement is not the primary aim, but
rather the multimodal engagement and the senso-motoric
orientation, then we engage with ‘the flesh of the world’ as
Pallasmaa argues: “The very essence of the lived experience is
moulded by hapticity and peripheral unfocused vision. Focused
vision confronts us with the world whereas peripheral vision
envelops us in the flesh of the world” (Pallasmaa 2005:10).
Experiential accounts from within light-zones
The staged investigations use a simplified light formation and
spatial context: a simple design of light-zones with theatre
luminaires and staged in a black-box environment, where the
spatial qualities and directions are formed by the light setting
only. The particular context for these investigations of expe-
riencing light through theatrically designed light-zones also
opens for an investigation of light formations as a material in
itself. (Fig 05-07)
“The spatial and form-giving characteristics of light-zones and
darkness-zones can be described as follows: Light-zones cre-
ate areas, places or zones to be in, whereas zones of darkness
create thresholds and transition zones. The composition of
light-zones and darkness-zones also change the appearance of
a space. Perceptually, bright surfaces seem to advance and ex-
pand in space, while darker areas seem to diminish and shrink.
Furthermore, the daylight of a light-zone has the potential of
’revealing’ space, form, and matter, whereas deep shadows
and darkness conceal” (Madsen 2005).
In the investigation discussed here, a square light-zone
and a round light-zone are models for exploration. The two
light-zones constitute a set of basic and very simple designs,
where it is possible to comprehend the design decision before
entering into experiential investigations. The light-shapes
are constructed by theatre luminaires in a black-box environ-
ment. It is a simplified version of two types of light-zones: one
round with diffuse edges and one square with sharp edges.
The construction of the light-zones is explicit, one can see the
luminaires and the lit form on the floor, and the volumes of the
light-zones are very easily understood by holding out a test-
ing hand. As such, a district volumetric light design is present
while simultaneously enabling an experiential investigation of
other non-volumetric qualities of the light-zones.
The two staged light-zone designs constitute a rehearsal
environment for the development of pre-expressive capacities
towards these particular light formations. Below is a summary
of observations (Søndergaard 2010:201-210), collated from sev-
eral investigatory events, which gives a view into the sensibili-
ties evoked by the exercise.
The sharp and square light-zone evokes the sensation of a de-
fined place, with rigid directional features, and is experienced as
clearly separated from the larger surrounding space. Standing
in the darkness outside of the sharp/square light-zone is sensed
as inhabiting a definite other space. Any position of standing or
way of moving, inside or outside, is sensed as always defined by
the shape of the light-zone rather than defined by the persons
positions or movements. The sharp/square light-zone establishes
a distinct place to visit or inhabit, and promotes tendencies to
maintain clear positions and stay still. The sharp/square light-
zone makes people intensively aware of each other, often resulting
in defensive body postures, or leading to constant re-negotiation of
positions and relative directions. The situation causes a build-up of
suspense among people, and actions such as touching or looking
at each other triggers immediate reactions. There is an increased
experience that people individualize themselves from the group,
and encounter each other in restless demands of the relations
to one another, in continuous detailed negotiations of the social
operations of the group.
The diffuse and round light-zone evokes the sensation of a gradual
intensity of a location, and can be identified and related to as a
particular zone even when standing out in the darkness. There is