Ora - An Interactive Eclipse

• Ø600mm Black polymer face

• Mild steel fixture, powder coated satin white

• Backlit dials

• RGB LEDs

• Control gear and power supply

Ora. An interactive eclipse.

Designed by ILAN EL/ 2008.

Experiencing transparent colour.

Researching illumination unfolds the field of coloured lighting with its implications on colour psychology. This study conveyed a realisation that there is merit in the use of coloured lighting in our living environments.

Phenomenons of coloured illumination such as fire and the sky from sunrise to sunset, borrow their appeal from the fact that they seem to release us from the customary visual world. Hence the admiration and apprehension of illumination since beginning of time that manifested in ‘light worship’ by humans.

One of the better known examples for the use of coloured illumination is to be found in early days of Christianity. The soft, diffused coloured light shining through many cathedral windows creates a solemn light, a light suited for deep thoughts and calm voices; it was seen as a mystic revelation of God.

Nowadays, the use of coloured lighting is widely applied in settings such as theatres as a scenery enhancer, atmosphere generator in hospitality and occasionally in residential as mood Maker.

Light, colour and emotion

Colour can have an emotional meaning, and therefore coloured illumination can influence the atmosphere in a space. The colour of light can also have physiological manifestation; Bluish, cool light has biologically a greater effect than warmer reddish light for example.

Many colour theorists throughout history have attempted to assign colours to particular human behaviour. They believed that seeing particular colours caused particular emotions. Others even created tests they claimed would reveal the personality of the participant.

Colour may affect the psychology of an individual or group formed by shared cultural associations. The fact that libraries often choose green shaded lamps and relaxation rooms connected to theatres are called green rooms does not make green a calming colour, just as a car

painted green doesn't mean that it

is particularly eco-friendly. In both

instances, colour choices play off cultural associations and assumptions.

As colour theorists devised ideas and systems linking colours to emotions, their results began to contradict each other and it became clear that no standard existed. Hard evidence proving that colour causes any quantifiable psychological effect upon humans does not exist.

Referencing colours to emotions is developed by every individual when they feel an emotion and then see a colour repeated during this time. After the connection is ingrained, the referencing can go both ways.

Few aspects that influenced the design process of Ora

Interactions

Changing the appearance of a given space whilst performing physical activity, offers additional meaning to the art of illuminated environment. The direct act of colouring the atmosphere through interaction with Ora manifests this concept. Activity theory, here as a tool of

constructivist learning environments, recognises that each activity takes place in two planes:

external and internal. The external plane represents the objective components of the action; the actual reciprocal act of engagement with control switches and the illuminated outcome. The internal plane represents the subjective components of the action; the choice to colour a space or the selection of a particular hue.

Symbolism

Symbols surround us in myriad shapes and form an inextricable part of our daily lives. Although

some may argue that their power and meaning is cultural based, unlike our spoken languages,

schooling in symbolism is left to the individual initiative.

While some, like Henri Bergson1, argue that forms (symbols) are conventions that hinder our

inner life, others like John Dewey2 feel that it is our use of forms that makes us human.

The Circle is the most common and universal sign to be found in all cultures. It is the symbol of

the sun in its limitless or boundless aspect. It has no beginning or end, and no divisions, making

it the perfect symbol of completeness, eternity and the soul. The circle is also the symbol of

boundary and enclosure, of completion, and returning cycles. A reflected circle represents the

dyad, the introduction of duality, and represents creation and manifestation.

Technology

I’ve harnessed the technology of “bi-colour LED” since It consists of two dies connected to the

same two leads but in opposite directions. Current flow in one direction produces one colour,

and current in the other direction produces the other colour. Alternating the two colours with

sufficient frequency causes the appearance of a third colour.

Ora utilises RGB LEDs that contain red, green and blue emitters, using a four-wire connection

with one common anode or cathode.

To control its outcome, a switch panel of three knobs is fitted. Each knob adjust one colour

spectrum, red green and blue. An OPTOTRONIC OT RGB was connected to allow colour mixing

by independently controlling three dimmable output channels and was supported by the

OPTOTRONIC OT stabilised LED power supply.

Positioning

Ora is a wall mounted piece for several reasons:

- Referencing to a cathedral’s rosette - a religious symbol.

- The resemblance to the act of painting that emphasises one’s own act of creation. The user faces the luminary whilst colouring the atmosphere, suggesting an artistic creation.

- Creating a personal coloured aura by choosing a highly reflective substrate that will act as a mirror and reflect the user’s face in it.