Release date: 2018-06-19 Source: Shenyang Lighting Sharing: The emergence and hiding of light This is ontology, which is about the essence of practice, and shows the indivisibility of matter and time and space at this time. But the performance of light on the living body is like a journey of time and space, not bound by this material. Lighting equipment is both dominant and recessive. Night lights outline the shape and level of the trees, giving them vitality and agility, a phenomenon that only exists in our minds. The recessive light source causes the object to illuminate, just as if it were the illuminant itself, and then we created a nightly planning project in 1994, the mobile car lighting device, which can dispatch the beam width and reflect the light, insisting on the necessary Bright and dark contrast. This use of light techniques enhances the expressive power of light: it avoids the damage of direct light to the eyes, but it is not unobtrusive. Nighttime is the best way to account for the duality of light. Just as the sense of time and space is lost, the original mana of light is to attract people's attention to objects rather than to themselves. Buildings, materials, and colors change with light, just like their own vitality. When you enjoy the light, you don't think about the concept of space and time. Some of them turn a blind eye and don't dazzle when you bathe. This is not completely hiding, and a piece of dark roots does not exist. To be more precise, this is an invisible existence, like the rising sun, which reflects the sky before rising. The essence of hiding is the appearance of separation, and the appearance of light gives life to all things. Use only light at the demand Light seems to be a chemical reaction: only the right, precise dose can create magic. There is no need for multiple light sources in the room, and a light is sufficient for visual and emotional needs. This reminds me of the theater's spotlight, where the audience follows them to cast their sights somewhere and mobilize all sensory experiences at that moment. This kind of light has a dramatic effect and is one of the functions of light ------ stage lighting. Those pleasing behaviors, cherished objects, and purposeful things all require only one light source: a light on the top of the table, half the brightness of the surroundings; a painting on the wall; a small candlestick on the corner of the temple, these All are cases of precise use of light, light, only light, appearing in the local demand. Light thickness Assuming that light has a mass, it has a thickness. Assuming that the light projects a shadow, it has a volume. The shadows are born from light and then form a sense of space. Light invades space through different methods, depicting different spatial temperaments; we often use light to create spaces precisely: such as porches, colonnades, and verandas. The shadow on the front of the building blocks the colonnade and only sees it when the lights are lit at night, so the light helps people discover and appreciate the building itself. Light is actually a material, and we should use light like other materials. It has mass, weight and thickness, a thickness that cannot be directly perceived. The thickness of the light is only expressed by the depth of the object being illuminated. . This is a more expressive thickness, deep and difficult to figure out, tangible and confusing, more versatile and more powerful. In my work, I fixed the lighting equipment in the ceiling and the wall hole, both invisible and playing its roots. I made the thickness of the light. Light falls through the semicircular vault on the church floor with an indeterminate thickness; the light on the album we read has a very small thickness. Light keeps the space together with some mystery. Light is building material Light lets us see, light helps us to work, and light allows us to appreciate beauty. Light planning serves architecture, and architectural planning includes light elements in addition to building materials; light represents materials, colors, spatial depth and emotions. Architectural planning is a plan of light from a certain point of view. Some countries in the north do their utmost to maximize the use of natural light, and the countries in the south also want to test this function of light. The original light and building materials are one. Regrettably, since the artificial light has been clarified, the plan has been split up with the light, and the light often becomes a follow-up behavior: it only retouches the shape of the existing building, and it plays a role of partiality or hiding. But the invisible but perceived light is integrated with the rest of the building. Experience tells us that the real good lighting plan is completely integrated with the building and Bo has declared its own glory. When the architect is in the embryonic stage of planning, it is necessary to intervene in the planning of light. Architects should know how to settle lamps to show structural, material, and spatial coordination. In this case, the final effect is to clarify the clear planning concept - together with simplicity. There is no lag planning in the light, and it is necessary for light to fully integrate into the building space. Light becomes an architectural language, not just a metaphysical element. Lighting planning is the creation of lights and vice versa. The beauty of the shadow The strength of light is equal to the strength of its pause; the light and darkness intersect to outline the shape of the building. Light is dialectical, and we can't escape the shadow when we talk about light. Shadow is the other side of light. From both sides, the shadow is the void and the light is the reality. When planning the light, we pay more attention to the light and ignore the shadow: together with the two will stimulate the planning idea. The daylight rays fall low in the outer corner of the porch, while the top of the inner corner is semi-dark. At night, deliberate lighting will change the perspective of the space. The subtlety and complexity of the shadows help us understand architecture better. I can turn perfect symmetry into a seductive asymmetry. The light on the arch is assumed to be flat and lacking in the presence and movement of the shadow. The shadows pacing on the curved surface of the vault and moving between the stigmas, waiting for us to discover the architectural features of the arches. Significantly, the shadow hides what is being practiced. Shadows are connected to buildings, sometimes become larger and smaller, and appear again and again, showing the generalization of architecture, allowing us to have an abstract reflection on light. Urban architecture lacks the use of shadows. The flat and invisible shadows express the mathematical beauty and the connection between the whole and the part of the building. In fact, the invisible but ubiquitous shadow can express more meaning. In a building, the shadow is always connected with the object, and the matter and the non-material are fused together by the light and the shadow water, and are inseparable. Leonardo da Vinci said in "Theory of Painting": "Shadows are mirror images of objects. Losing them makes it difficult for people to properly understand the things that are stable and opaque." Shadows are natural elements that follow the rules of individualization. After all, it becomes an inseparable part of the true meaning of architecture. Knowing the flexibility of the shadows, Galileo reminded the Stars of the Moon on the surface of the Moon on the crater. He also said: "If there is a shadow, I will create this shape for you." In the Renaissance humanist works of art, the shadows play a role in depicting space from a perspective point of view. Because of its traits of changing with time, the shadow has become a method of planning, making the static works have vitality. In the book about the architect Opalinos, Paul Valery let Fidelas (a century-old Roman fable writer) and Socrates (ancient Greek philosopher) start a virtual dialogue in the night. , content about the wonderful analogy of architecture and music. The former belongs to the tangible space art, while the latter is the invisible abstract art. Valery hinted at the similarities between shadow and music resonance. The shadow tells us the size and shape of the building, and the polished music reflects the tone and type of the instrument. In classical architecture, the veranda, arched veranda, garden, pergola, figure-eight windows, walkway with windows and vaulted sections all return to the transparent style, making full use of light and shadow. The light and shadow elements that reflect the logic of architecture are so clear that they have become a way of doing something special and spontaneous in building changes. They emphasize the vertical depth of the building, and the flexibility of the shape of the building. The contrast between light and shadow formed during the day and night and the four seasons of the cycle makes the building appear different. The shape of the shadow has great homogeneity in the architectural language of this world: the flying scorpion, the half-cut solar wall, and the underlying overhead column are the latest expressions of the use of shadow. Light and shadow have always courageously interdependent, this kind of liaison has become our rich conception, because our shadow planning of light projection is better than the planning of light. We plan for the light, but the planning room is named upo, during which o stands for ombra, and English means shadow. Our planning philosophy comes from investigating and learning about natural phenomena and then creating unnatural, real, non-artificial light. Our journey of creation begins with this concept: Compared to light planning, we are more likely to plan normative, dimensionally, controllable static or dynamic shadows that are no longer subject to the sun's operation. We have a clear new shadow, and for generations, regardless of the sun, the fire is still the effect of candlelight, the shadow has been moving, can not completely stop. Today, we are committed to the creation of shadows in the planning, the works are biased to express the charm of darkness, and the shadow is the hiding of light, which just becomes a way of expression. More lighting information is available at https:// . Label: lamps wholesale lighting procurement lamps to join billion lamp network Product categories of Cloth Pen Nib, it is belong to Passive Stylus Pen. Passive stylus pen is characterized by being cheap and without charging. But compared with the active capacitive stylus pen, its tip diameter is larger, so it cannot be used in works with high precision. Using high-quality conductive cloth head, smooth contact with the screen. Cloth Pen Nib,Multi-Functional Pen Stylus Pen,Stylus Pencil With Clip,Touch Stylus Pencil Shenzhen Ruidian Technology CO., Ltd , https://www.wisonens.com Five rules of lighting design
