在我们灯火通明的城市中，照明设计师为了对抗黑暗和夜晚而不懈努力，更不用说公共空间和城市的夜生活是多么需要光亮了。
▲一些城市古迹在夜间活动中得到了最好的认可。旧金山-奥克兰湾大桥上的bay lights项目是世界上最大的led灯雕塑，它利用了飞利浦照明产品的25,000多个节点，使这座桥具有全球吸引力，并说明了照明在创建标志性城市地标中的关键作用振兴地方经济。飞利浦照明提供
some urban monuments are best recognized in their nocturnal states. the bay lights project on the san francisco–oakland bay bridge—the largest led light sculpture in the world—utilizes more than 25,000 nodes of philips lighting products, making the bridge a global attraction and illustrating the key role of lighting in creating iconic city landmarks and revitalizing local economies.courtesy philips lighting
良好的户外照明在促进公共空间和促进公民文化的发展方面具有不可否认的作用。据统计，光线充足的十字路口与行人-汽车事故的减少呈正相关，照明在确保个人和公共安全方面都起着重要的作用。从文化和经济的角度看，照亮的城市地区允许人们在白天以外的时间生活，工作和娱乐，从而有效地增强了公共领域活动。
good outdoor lighting has an undeniable role in fostering public space and facilitating the emergence of civic culture. well-lit intersections are statistically linked with a reduction in pedestrian–automobile accidents. with newfound sensitivity to the omnipresent and global issue of violence against women, as well as stoked anxieties about attacks in public spaces, lighting claims an important part in ensuring both individual and public safety. and from a cultural and economic perspective, sensitively illuminated urban areas effectively enhance the public sphere by allowing people to live, work, and play outside of daylight hours.
“照明是城市景观中必不可少的组成部分，”智慧城市专家，负责飞利浦照明公共部门市场营销的susanne seitinger说。“无论是标志性的桥梁和建筑物，还是街道和十字路口的公共照明，都可以为该地区的社会经济和文化繁荣做出贡献。”
“lighting is an essential and ubiquitous part of the urban landscape,” says susanne seitinger, an expert on smart cities who leads public-sector marketing for philips lighting. “public lighting, from iconic bridges and buildings to streets and intersections, can contribute to the socioeconomic and cultural prosperity of a region.”
▲leni schwendinger在西雅图中心校园的“色彩之梦2.0”装置是建立在2003年以前的一个装置的基础上的。双色板安装在450英尺长的通道上，允许近乎无限的颜色组合。在其他公共设施中，照明扮演着关联于建筑的支持性角色，但在这个项目中，照明占据了舞台中心，并改变了周围的建筑形式。
leni schwendinger’s “dreaming in color 2.0” installation at the seattle center campus builds upon a previous installation from 2003. dichroic plates are installed throughout the 450-foot-long passage- way, allowing near-infinite color combinations. unlike other public installations, in which lighting assumes a supportive role relative to the architecture, lighting in this project takes center stage and transforms the surrounding built form.
既然，夜间照明在城市居民的社会和经济福祉中具有至关重要的作用，甚至是越来越重要的作用，为什么照明设计人员和专家几乎异口同声地认为过去几年室外照明过剩？
yet given this critical—even increasingly so—function of nighttime lighting in the social (and economic) well-being of urban inhabitants, why are lighting designers and experts nearly unified in their belief that outdoor lighting in past years has been excessive? part of the answer may lie in traditional suspicions of the night as hosting illicit activities and shady characters, which continue to negatively shape people’s views of darkness.
历史学家a. roger ekirch在2005年出版的著作《一天的终结：过去的夜晚》阐明了历史上几乎所有文明如何将黑暗与邪恶联系在一起。这种认识仍然存在，尽管大多数暴力犯罪行为是在白天实施的，即使在犯罪率历史最低的城市也是如此。打击反社会行为的自然本能是用路灯，前大灯，手电筒，泛光灯将其淹没。根据这种广泛共识，带来误导性的假设，认为在照明方面，更多必然更好，于是我们的城市一直被过度照明。
the historian a. roger ekirch’s 2005 book at day’s close: night in times past elucidates how nearly every civilization throughout history has associated darkness with evil. this attitude persists, although the majority of violent crimes are committed during the day, even in cities experiencing historically low crime rates. the natural instinct in combatting antisocial behavior has been to overwhelm it with light—streetlights, headlights, flashlights, floodlights. as a result, according to a broad consensus, our cities have been consistently over-illuminated, driven by a misguided assumption that when it comes to lighting, more is necessarily better.
“一个普遍的误解是，光线较高的区域更安全，”位于南卡罗来纳州的制造商hubbell lighting的dean dal ponte说。但是，他警告说：“增加更多的光线以增强安全性实际上可能产生相反的效果。”密歇根州户外家具和照明公司landscape forms的设计和营销副总裁kirt martin表示赞同，并指出过度照明“确实可以降低行人的信心。”2016年长篇文章由《卫报》的amanda petrusich明确表示，最近越来越多地采用更亮的led灯具的路灯设计“几乎被普遍描述为令人不快的”。
“a common misconception is that areas with higher light levels are safer,” says dean dal ponte of the south carolina–based manufacturer hubbell lighting. but, he cautions, this impulse “to add more light to increase safety may actually have the opposite effect.” kirt martin, vp of design and marketing at outdoor furniture and lighting firm landscape forms in michigan, concurs, pointing out that excessive lighting “can actually reduce pedestrian confidence.” suzan tillotson, whose high-profile collaborations with world-renowned architects have cemented her lighting-superstar status, calls america’s ever-brightening public spaces “horrible” and a major issue facing the profession, criticizing the “more and more light” crowd as overzealous. a 2016 long-form article by amanda petrusich in the guardian plainly stated that recent streetlight design, which increasingly employs brighter led fixtures, is “almost universally described as unpleasant.”
▲由rodrigo torres为密歇根州的landscape landscapes公司设计的torres系列产品受到标志性路灯图像的影响，尽管采用led照明，但其友善而温暖的白光减少了眩光。landscape forms提供
the torres line, designed by rodrigo torres for michigan-based company landscape forms, is influenced by an iconic streetlight image and despite being led, reduces glare with its friendly, warm white light.courtesy landscape forms
照明行业“少即是多”的观点受到了环境方面的关注，即对光污染和生态系统破坏的关注，以及围绕适应人类与自然联系的基本需求的设计领域的加速讨论。《卫报》表示：“如果你住在美国大城市，现在几乎不可能在户外的黑暗中度过任何时间。”landscape forms的martin指出，当今最受关注的目标之一是使照明设计适应昼夜节律，并指出现代led灯无法像我们的祖先几千年那样对光做出反应。
the arguments of the “less is more” wing of the lighting profession are bolstered by environmental concerns about light pollution and disruption to ecosystems, as well as the accelerated discourse within design around accommodating (rather than resisting) humanity’s basic need to connect with nature. “if you live in a major american city, it is now virtually impossible to spend any time at all outside and in the dark,” the guardian piece warned. landscape forms’ martin observes that one of the most talked-about objectives today is adapting lighting design to circadian rhythms, noting that contemporary led lights preclude our ability to respond to light as our ancestors did for thousands of years.
▲良好的户外照明要考虑到环境和不同的光源。由claudi aguiló和xavier nogués设计的the rea户外设施位于巴塞罗那——santa & cole发出漫射光斜向下,减少光污染
good outdoor lighting takes into account context and diverse light sources. the rea outdoor fixture designed by claudi aguiló and xavier nogués for barcelona- based santa & cole emits diffuse light diagonally and downward, minimizing light pollution.courtesy santa & cole
那么，对于系统性的过度光照城市的补救措施是什么？tillotson指出，国际黑暗天空协会（international dark-sky association）是黑暗天空运动的第一个也是最大的组织，其宗旨是消除光污染并保护夜间环境。tillotson说：“暖光对野生动植物和人类都更好。” “自然，夜晚的光线会变暖，为您入睡做准备。灯应该熄灭，而不是点亮。”
so what’s the remedy for the systematically overlit cities? tillotson, for her part, points to the international dark-sky association, the first and largest organization of the dark-sky movement, which seeks to combat light pollution and protect the nighttime environment. “warm light is better for wildlife and for humans,” tillotson says. “it’s natural that light should get warmer at night and prepare you for sleep. lights should go down, not up.”
经过多年的过度照明后，设计师，专业人员，观察员和其他人员正在更全面地了解室外照明，研究各种光源和不同层次的光线，并倡导更周到，构思周到的照明系统，该系统可用于支持而不是反对夜间黑暗。也许让我们晚上在公共场所感到舒适的并不是过多的照明覆盖范围或纯粹的亮度，而是各种各样来源发出的柔和均匀的光。飞利浦的seitinger说：“成功的照明设计既要传达出光线，也要设计出黑暗。”
after years of overlighting, designers, professionals, observers, and others are taking a more holistic view of outdoor illumination, examining diverse sources and gradations of light, and advocating more thoughtfully conceived lighting systems that work with, rather than in opposition to, nighttime darkness. perhaps what makes us feel comfortable in public spaces at night is not so much lighting coverage or sheer brightness, but rather a gently suffusing uniformity of light emanating from a diversity of sources. “successful lighting design is as much about choreographing darkness as it is about delivering light,” philips’ seitinger says.
▲由diller scofidio + renfro设计的备受瞩目的zaryadye公园，去年在莫斯科开放，受到了建筑界和俄罗斯寡头圈子的极大欢迎。由leni schwendinger指导的公园照明方案与周围城市景观的照明方案相似，展现了已有的光源-并强调了展示形式和光线色调的多样性。由iwan baan提供
the high-profile zaryadye park, designed by diller scofidio + renfro, opened last year in moscow to much fanfare in both architecture and russian oligarch circles. the lighting scheme for the park, directed by leni schwendinger, parallels that of the surrounding cityscape—reflecting preexisting sources of light—and emphasizes a diversity of displays and temperatures of light.
设计师，制造商，安装工匠等等也注意到了。照明顾问leni schwendinger为设计了莫斯科的zaryadye公园的diller scofidio + renfro贡献了她自苏联解体以来俄罗斯最大，最受关注的建筑项目之一，并考虑了经过的汽车和附近建筑物带来的光源，她说：“照明概念与景观和建筑原理并存，”并补充道，照明的目的是创造温暖的星光“网”。在城市范围内，设计公司santa＆cole用这些通风的临时照明灯具（以及公共家具）在巴塞罗那的丰富景观中留下烙印，让不同角度、层次和方向的光渗透并补充城市景观。该公司的城市编辑claudia rosello说：“这与光线的数量无关，而在于如何投射光线以产生对空间的良好感知，从而为用户增加体验价值和质量。”她指出了她认可的“以人为中心的照明”，它强调了对人类行为和环境的分析，光的功能性和动态性，照明产品的特性，如灵活性和适应性。
designers, manufacturers, installation artists, and others are taking note. lighting consultant leni schwendinger contributed to the diller scofidio + renfro–designed zaryadye park in moscow—one of russia’s largest and most publicized architectural projects since the fall of the soviet union—taking into account light sources from passing cars and nearby buildings: “illumination concepts parallel the landscape and architectural principles,” she says, adding that the lighting is intended to create “webs” of warm, starry light. on the city scale, design firm santa & cole has long made its mark throughout barcelona’s dense landscape with airy, ephemeral lighting fixtures (as well as public furniture) that allow different orientations, gradations, and directions of light to permeate—and complement—the cityscape. “it’s not about the amount of light but how it is projected to generate a good perception of space and, therefore, increase its value and quality for users,” says claudia roselló, the firm’s urban editor. she points to what she calls “human-centric lighting,” which foregrounds analysis of human behavior and context; functionality and dynamism of light; and characteristics of lighting products, like flexibility or adaptability.
就像加利福尼亚州即将更新的title 24法规（其中规定了商业和住宅照明的效率和性能要求）一样，hubbell长期以来一直在开发具有集成控制功能的节能户外照明，并试验了可自动响应移动的灯具。同时，santa＆cole及其北美运营商“landscape forms”拥有先进的中等体量的公共照明设备，这表明最好的光是对位置敏感的，不需要来自上方。landscape forms的kirt martin强调了他反对“一刀切”的做法。“市区的合适灯具和照明水平可能与乡村地区不同，在外观和性能上都如此。”他说，“适当的照明总是更好。”
as if in anticipation of california’s updated title 24 regulations, which set forth efficiency and performance requirements for both commercial and residential lighting, hubbell has long developed energy-efficient outdoor lighting with integral controls and experimented with fixtures that automatically respond to occupancy, movement, and preexisting light—a function many, including tillotson, have advocated. meanwhile, santa & cole and its north american carrier, landscape forms, have advanced waist-level public lighting fixtures, demonstrating that the best light is place-sensitive and need not come from above. kirt martin of the latter company stresses his opposition to the one-size-fits-all approach. “appropriate light fixtures and light levels for an urban area may not be the same for a rural area, both in physical appearance and performance,” he says. “appropriate light is always better.”
但是对于某些人来说，除了这种解决方案之外，它还隐藏着一个基本的经济和文化问题，这使人们怀疑夜间照明的基础。尼克·邓恩（nick dunn）在2016年出版的《黑暗的物质：夜市的宣言》（零书）在现代新自由主义资本主义下，渐进的城市照明与消费型城市的崛起之间存在一种话语平行。邓恩写道：“夜市面临的威胁更大，是人们不断尝试以使其开放供营商使用的相同策略，将其笼罩在整个夜晚。” “它不再是休眠，反思和考虑的时间和地点，而是迅速被商业市场所吞没。”
yet for some, beyond this solutionism lurks a fundamental economic and cultural problem that casts into doubt the very basis of nighttime illumination. nick dunn’s 2016 book dark matters: a manifesto for the nocturnal city (zero books) draws a discursive parallel between the gradual lighting of cities and the ascent of the consumptive city under contemporary neoliberal capitalism. “more threatening to the nocturnal city are the continued attempts to pervade it with the same strategies that make it open for business, a mere extension of the day,” dunn writes. “rather than being a time and place for dormancy, reflection, and consideration, it is rapidly becoming engulfed in the market.”
▲这是hubbell在明尼苏达州minnetonka的ridgedale中心的作品，被设计成在白天不引人注目。它使用的kick获得了国际黑暗天空协会的批准，是世界上第一个以零向上角度光为特色的灯具
hubbell’s work on the ridgedale center in minnetonka, minnesota, is designed to be unobtrusive and hardly noticeable in the daytime. the kick fixture employed in the project was approved by the international dark-sky association and is the first in the world to feature an upward angle with zero uplight.courtesy hubbell
对于邓恩来说，城市的历史光辉与各州索取更大权力以控制人们的私人生活（法国哲学家米歇尔福柯称为“生物政治”的情况）相吻合，重新构造了州与主体之间的关系。有了城市的照明，官员们（从字面上看）可以更多地了解公民生活的社会和政治细节，限制公共空间的某些使用并逐渐侵蚀公共领域。
for dunn, the historical illumination of cities has aligned with states’ claiming greater power over people’s private lives (a condition french philosopher michel foucault termed “biopolitics”), reconfiguring the relationship between state and subject. with the lighting of cities, officials could—quite literally—shed ever more light on the social and political minutiae of citizens’ lives, restricting certain uses of public space and gradually eroding the public sphere.
良好的户外照明必定能扩大市民的视野，增加在公共场所夜间活动的机会和可能性。然而，至关重要的是，我们当代的夜间场所不能损害白天公共空间的使用，并且对照明的核心作用的认知使得人们需要采用平衡且灵敏的夜间照明方法。也许我们的努力能起到最好的作用，为了我们的社会，经济和健康，只要我们秉持“应该让夜晚回归夜晚”的清晰概念。
good outdoor lighting necessarily functions to expand the civic realm, augmenting the opportunity and possibility for nighttime activities in public space. yet it is critical that our contemporary nocturnal placemaking not detract from the essential qualities that differentiate it from daytime uses of public space and that our awareness of lighting’s central role allow a balanced and sensitive approach to night lighting. perhaps our efforts are best spent—for our social, economic, and physical well-being—in service of the clear-as-day notion that we ought to let night be night.
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