Looking at the future of light in the workplace is all about ‘talking’ - not only to other lighting designers but to everyone involved in the problem of how we might improve the lit condition of the places in which we work. This includes not only those that commission buildings, develop and maintain them but also, and most importantly, those that are actually going to use them. In talking about problems we can help move things forward such that solutions naturally evolve.
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One of the major issues that lighting designers constantly struggle with is how to represent the changing character of a lit environment. At any given moment, light can be described in terms of its spectral distribution, colour rendering, colour temperature, illumination and luminance measurement scales. But there is no standard mark-up language or established system to describe how the lit character of a space changes over time, to enable lighting concepts to be documented, information disseminated and a lit environment to be evaluated. Without a system to record and analyse light, it becomes difficult to provide a qualitative and quantitative assessment.
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Natural sunlight is the oldest form of light therapy. It regulates the human body clock, hormone production and biological functions, lowers bacterial contamination and stimulates the body’s natural healing processes.

Many forms of light therapy take their lead from natural sunlight. Two well known therapies, Full-spectrum and Bright Light Therapy, closely mimic the spectrum and intensity provided by natural sunlight, which plays a reduced role in the way the majority of people live their daily lives today. Historically these therapies have been used to treat tuberculosis and are used today to treat Seasonal Affective Disorder, migraines, eating disorders, depression and jet lag.
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Light is a fundamental part of the cinematic experience. Along with the musical score, light helps to create mood, drama, and suspense. While special effects and techniques have evolved over the past century of filmmaking, lighting remains crucial to the success of both black and white classics and modern Technicolor blockbusters. Its greatest impact, however, is in the horror genre. From the earliest days of German impressionist films such as Robert Wiene’s The Cabinet of Doctor Caligari (1919) and Friedrich Wilhelm Murnau’s Nosferatu (1921) to Ridley Scott’s Alien (1979) and Donahue, Leonard and William’s Blair Witch Project (2002), the light – or in many cases the lack of it – has been integral to creating the fear factor. In horror movies light is commonly used to reveal or conceal the object of horror by employing various lighting techniques:
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Only a decade into the 21st century the city has perhaps become an even greater source of attention and fascination than at any time since the industrial revolution when we experienced urbanisation on an unprecedented level.

Everywhere you turn politicians, planners, architects, designers and technologists are focusing on the future development of the urban realm. This is largely in response to social, economic and political factors - and especially the rapid rate of population growth. Such change however is also seen as a commercial opportunity by many big corporations who are seeking to exploit the increasingly complex social and economic needs of burgeoning populations.
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