Lighting in Design February-March 2018

Wertschätzung: value in lighting

T his article by Anthony Tischhauser is based on a discussion between Hannah Hözl a visiting light de- signer from Germany and members of Pamboukian lightdesign. Hannah asked the question: 'What value does Wertschätzung have in local lighting design?' ‘Esteem’, ‘regard’, ‘appreciation’ – these are direct translations of the German word Wertschätzung . They do not fully explain, however, what the term means when referring to a service for clients. Used by lighting design- ers in Germany, Wertschätzung implies value of quality in achieving an aesthetic versus financial value. The value of the discipline of lighting design is not really recognised in the building industry. Lighting has a particular value and requires an appropriate budget, but in South Africa any discussion around architectural light- ing tends to be dominated by cost and, in most cases, when a project is cost engineered something inevitably gets lost. Lighting design is an investment in quality and adds value to the end product which is directly related to the investment. As a result of a lack of understanding or genuine ap- preciation for lighting, Wertschätzung is seldom discussed with a client and is not widely practiced in our country. Here, clients tend to expect an amazing ‘lighting outcome’ on a tight budget. Cheap fittings, however, cannot fulfil the same function or deliver the same quality of light as more expensive luminaires. A well-engineered fitting with good performance, good quality of light, excellent optics and controllable, by necessity, will come at a price. It is not just about the technical abilities of a fitting but the way the fitting is applied to achieve an atmosphere, effect or statement. Wertschätzung entails a holistic approach to space, of which light is a part and where the communication of the lighting concept has the same worth and quality as the architectural concept. In theatre, the lighting is informed by the story being told and the lighting designer works to a narrative. The same applies to a building; the lighting designer has to ‘create’ a narrative since it would be impossible to create a lighting design without a strong image or story of what the building will look like at night and what it will convey – essentially, build the concept that becomes the ideal the team is working towards. How does one take a client who has little idea about light to a stage where he or she understands the concept, the approach and the design language of light? Once there is this level of understanding, clients will be prepared to invest more because the concept has a value and they realise that only with a certain luminaire or product or arrangement, can the aim be achieved. Clients have to have an appreciation of what they are aiming towards, and lighting designers need to give them an understanding. Much of the work of lighting designers is with develop-

ers whose main aim it to get a building up and tenants in. In these instances, lighting becomes an engineering exercise. They need lighting and enough of it; there are codes and regulations, and the lighting has to be compli- ant. Budgets for these structures are defined by clients and quantity surveyors. Electrical engineers then tender and allocate a budget for lighting, without consulting a lighting designer. As a result of this approach an important element is missing and when the client realises something special could be done with lighting, it is too late as the lighting designer has not been part of the building process. There is a big difference between lighting architecture and light in architecture. Lighting designers light archi- tecture and if a lighting designer forms part of the team from the start, he or she, aware they are working under restriction, can identify the vital areas and plan how to make the space look impressive with less. By employ- ing ‘value engineering’ the designer can study the plan, rearrange certain areas, remove a spot here or there or use one wall fixture rather than two, stick to high quality luminaries with a good CRI and light distribution. In the final outcome, one spot can be more effective than seven. Success is ultimately in the detail and thought-through lighting design. This approach will also save costs and lead to energy saving. Nothing is more visible than light. Light is honest. If a building is unattractive it will look unattractive and if good, it will look good. Lighting will also highlight poor finishes and workmanship – it enhances what is there. The light- ing of a building should be the reserve of the lighting designer. Rather like the role of the architect who controls the spacial and operational aspect of a building the lighting designer should control the feel and the impact of light in a building. That demands an expertise an engineer is not qualified for. Engineering light is not the same as design- ing light. Engineered solutions are mechanically based whereas light solutions are optically and design based. As a profession, lighting design is relatively young and clients have to be educated around the idea of light shaping space. It is up to the lighting profession to help people understand the purpose and power of light. Light- ing designers have to show clients how their lifestyles can be enhanced, how a space can become atmospheric, and how the lighting industry in general can be unreliable. The products that are put into the market are not necessar- ily the best available. No one is forced to use a lighting designer, but when lighting designers are employed they are responsible for the quality of the space. If they do a good job, use good products and educate their clients, the outcome is win-win situation because the designer has created the space he has in his mind and the client understands the space designed and is happy with it ... effectively including the value of quality in achieving an aesthetic or, more put succinctly, Wertschätzung .

23

LiD FEB/MAR 2018