||With the unlimited supply of electric light our surroundings very easily may be illuminated too strongly. Too much light is unpleasant for our eyes, and a high level of light in many cases disturbs the conception of form. Just as in a forest, we need shadows, contrasts and variation when we compose with light. If we focus on the term compose, it is natural to conceive our environment as a wholeness. In fact, this is not only aesthetically important, it is true in a physical context. Inspired by old windows several similar examples have been built in the Trondheim Full-scale Laboratory where depth is obtained by constructing shelves on each side of the opening. When daylight is fading, indirect artificial light from above gradually lightens the window. The opening is perceived as a space of light both during the day and when it is dark outside.
Another of the built examples at Trondheim University which will be presented, is a doctor's waitingroom. It is a case study of special interest because it often appears to be a neglected area. Let us start asking: What do we have in common when we are waiting to come in to a doctor? We are nervous and we feel sometimes miserable. Analysing the situation we understand the need for an interior that cares for our state of mind. The level of light is important in this situation. Light has to speak softly. Instead of the ordinary strong light in the middle of the ceiling, several spots are selected to lighten the small tables separating the seats. The separation is supposed to give a feeling of privacy. By the low row of reflected planes we experience an intimate and warming atmosphere in the room. A special place for children contributes to the total impression of calm. In this corner the inside of some shelves are lit by indirect light, an effect which puts emphasis on the small scale suitable for a child. And it also demonstrates the good results of variation. The light setting in this room shows how light is “caught” two different ways.