Basic 照明基础
在描述人类感知时，仅仅把眼睛描绘成一个光学系统是不够的。还需要解释图像是如何被理解的。感知心理学和感知对象都是理解照明设计的重要因素。
It is inadequate simply to portray the eye as an optical system when describing human perception. It also needs to be explained how the image is interpreted. Both the perceptual psychology and the objects of perception are important factors in understanding lighting design.
History 照明的历史
十八世纪之前，人们只拥有两种光源：自然光和火焰——后者是石器时代以来唯一的人工光源。这两种照明方式自古以来决定了生活和建筑的模式，直到燃气灯和电灯的发明，才开启了照明的新时代。
Right up until the 18th century people only had two light sources at their disposal: natural daylight and the flame – the latter being the only artificial light source since the Stone Age. These two types of lighting dictated the patterns of life and architecture down through the ages, but a new epoch was ushered in with the invention of gas lighting and then electric lighting.
Quantitative lighting design 追求量的照明设计
(San José 1885)
美国圣何塞灯塔 1885年
随着电气照明的出现，获得类似于日光的照度水平，就成了依赖于人们准备投入多少的技术问题。第十九世纪末有过一次尝试，在灯塔安装泛光照明来提供街道照明。然而刺眼的光线和强烈的阴影造成弊远大于利，因此这种户外照明形式很快就被废弃了。光照来源的不足起初是主要问题，然而随后首要关注点就变成了如何明智的处理过多的光照。日益增长的工业化引起了对工作场所照明领域的深入研究，如调查照度水平和照明类型对生产效率的影响。这项研究导致制定了广泛的规格和规定，限定最低的照度水平、色彩还原的质量和眩光限制。这套照明标准作为照明指导方针应用于不仅是工作场所的区域，实际上直到今天它仍然是照明设计实践中的决定因素。然而这种方法完全不考虑感知心理。人们如何清晰地感知建筑物，以及灯光如何传达美感效果，这些问题超出了定量照明规则和规章的范围。
With the advent of electrical lighting, obtaining illuminance levels similar to those of daylight became a question of how much technical effort one was prepared to invest. At the end of the 19th century, one attempt at providing street lighting was to mount floodlights on lighting towers. However, the glare and harsh shadow produced caused more disadvantages than advantages and so this form of outdoor lighting was soon abandoned. Whereas inadequate light sources were the main problem initially, a prime concern later on was how to sensibly deal with the overabundance of light. Increasing industrialisation gave rise to intensive studies in the field of workplace lighting, investigating the influence of illuminance levels and lighting type on production efficiency. The studies resulted in extensive rules and regulations governing the minimum illuminance levels, the qualities of colour rendition and glare limitation. This catalogue of standards was to serve as a guideline for lighting far beyond the area of the workplace; in fact, it still determines the practice of lighting design right up to the present day. However, this approach left the psychology of perception totally unconsidered. The issues of how people perceive structures clearly and how lighting also conveys an aesthetic effect were beyond the scope of the quantitative lighting rules and regulations.
Qualitative lighting design 追求质的照明设计
有一种认知把人类的感知局限在生理层面，曾有基于这种认知建立的照明观念，但这种照明观念并不理想。二战后，在美国生长出一种新的照明理念，这种照明理念不再是，仅考虑照明于数量方面的因素，而是拓展了视觉器官的生理机能，将感知心理学包纳了进来。这意味着在进行感知的观察者，被感知的对象，和作为中间传递介质的光之间，所有相互作用的因素都纳入了考虑范围。照明设计的趋势，也不再是把量化的亮度水平或者亮度分布作为主要的依据，而是更多的依据照明质量的因素。
Restricting the view of human perception to a physiologically orientated level led to unsatisfactory lighting concepts. Approaches at a new lighting philosophy that no longer solely considered quantitative aspects arose in the USA after World War II. Expanding the physiology of the visual apparatus by adding the psychology of perception meant that all factors involved in the interaction between the perceiving observer, the object viewed and the facilitating medium of light now came under consideration. The perceptionorientated lighting design no longer primarily thought in the quantitative terms of illuminance levels or luminance distribution, but in terms of the qualitative factors.
Perception-orientated lighting design 感知引导的照明设计
20世纪60年代，以感知为导向的照明设计，不再把人和人的需要，仅仅视为视觉环境的接受者，而是作为感知过程中的一个主动因素。设计师们分析各个区域的意义和功能的意义，据此建立意图模型，并将照明设计作为，人和环境之外的第三个感知要素，从而开发适当的照明设计。这就需要一些准则和相应的术语，用来对照明系统的要求和对光的功能进行描述。
The perception-orientated lighting design of the 1960s no longer considered man and his needs as a mere recipient of his visual surroundings but as an active factor in the perception process. The designers analysed what was the significance of the individual areas and functions. Using the pattern of meaning thus established, it was then possible to plan the lighting as a third factor and to develop an appropriate lighting design. This required qualitative criteria and a corresponding vocabulary, which in turn allowed both the requirements placed on a lighting system and the functions of the light to be described.
