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- 1. LightBridge: Interactive Urban Lighting Control This! October 20, 2011 Susanne Seitinger, susanne@media.mit.edu Pol Pla I Conesa, pol@media.mit.edu 1 Photo credit: David Sun Kong, www.flickr.com/davidsunkong 1
- 2. 1 LightBridge www.boston.com/news/ed ucation/higher/specials/mi t150/mitlist/
- 3. MIT 150th Festival of Art Science and Technology (FAST)Light MIT Campus, May 7-8, 2011 18,000 visitors over the weekend. http://arts.mit.edu/fast/fast-light
- 5. Harvard Bridge connecting Boston and Cambridge http://en.wikipedia.org/wiki/File:Harvard_Bridge_postcard_1920ish.jpg 5
- 6. Importance of the Charles River Earlier campus plans included more direct connections to the river. (Haglund, Karl. Inventing the Charles River. 2004.)
- 7. Inaugurating the New Campus 1916 Illustration of the “The Masque of Power” opening ceremony of 1916. The searchlight was borrowed from a Navy ship and crossed beams with another light on the old campus in Boston. The show also featured what may have been the first color- illuminated floor in a performance context. Jarzombek, Mark. 2004. Designing MIT.
- 8. Inaugurating the New Campus 1916 Impressions from the 1916 Ceremonies Jarzombek, Mark. 2004. Designing MIT.
- 9. 150 Years: Celebrating the Movements of Pedestrians in Light Low-resolution display integrated with sensors to create a dynamic and interactive public lighting installation • Explore potential for responsive light infrastructure in the city • Animate a key pedestrian thoroughfare connecting the cities of Cambridge and Boston • Respond to the movements of pedestrians only • Work with low-resolution and subtle animations (4 pixels by 1,500 feet or ca. ¾ of the Mass Ave. Bridge) • Provide a live web-feed of the animation patterns • Create ephemeral, short-term installation Photo credit: Peter Schmitt
- 10. Sponsorship & Team Philips ColorKinetics - Jeffrey Cassis , Paul Kennedy, John Warwick MIT FAST Festival - Tod Machover, Meejin Yoon, Meg Rotzel Additional support raised from the following groups: MIT UROP Office - Funding for undergraduate research assistants MIT Media Lab - Funding for undergraduate research assistants MIT Council of the Arts - Susan Cohen Cisco - TJ Costello, Steven Fraser, Mod Marathe, Dave Rossetti Panasonic - Jean-Claude Junqua, Nick DeGaetano SparkFun Electronics - Pete Dokter, Nathan Seidle Team: Susanne Seitinger & Pol Pla - Fluid Interfaces Group Russell Cohen, Eugene Sun, Andrew Chen, Dave Lawrence, Daniel Taub, David Xiao 10
- 11. Photo credit: Peter Schmitt
- 12. Some Numbers 5,000 feet of CAT5e cable 1,200 feet of fiber optic cable 2,500 feet of power cable 17 network switches 3,240 feet of clear tape for diffuser assembly 6,000 cable ties 9,600 LED nodes 96 PDS power and data supplies 2,400 acrylic tubes 400 proximity sensors 100 Arduino-mini 10 Arduino UNO with Ethernet shields ~80 number of volunteers ∞ work hours!
- 14. LED (light-emitting diodes) Flex 9,600 low-voltage (7.5V) individually addressable pixels Please note that these images are visualizations. For actual brightness levels see LED light specifications. # of pixels spacing length/ number of total length lens leader node and pixel strip strips cable cable color 50 4” 16.67’ 86 1433.64’ translucent ~20’ white dome 50 4” 16.67” 5 Translucent ~20’ black dome 50 9” 37.5’ 32 1200’ no lens ~20’ white 50 10” 41.67’ 42 1666.8’ clear dome 35’ black lens 50 12” 50’ 28 1400’ clear and ~20’ black For more details see: www.colorkinetics.com/ls/rgb/flex translucent domes 14
- 15. Diffuser System Indirect, diffuse light via acrylic tube system on the exterior of railing Lights become denser towards Cambridge Boston-side 12” spacing 10” spacing 9” spacing Cambridge 4” spacing Photo credit: Peter Schmitt
- 16. Diffuser Workshop Tested many different ideas and materials during January 18, 2011 diffuser workshop with students and Philips CK guests
- 17. Laser-cutting and Assembling Diffusers
- 18. Diffuser System Acrylic tubes (30”) with laser-cut notches for LEDs, taped together with clear office tape, 4 pixels per tube alternately facing up and down Photo credit: David Sun Kong, www.flickr.com/davidsunkong
- 19. Power Requirements and Data Network • 100 outdoor-rated Philips Color Kinetics Power and Data Supplies • Avg. Load = [10,000 FlexSL nodes X 0.5W per node] X 0.5 + [100 PDS-60 X 8.3W] = 3,300 Watts • With additional electronics used 4x20A Circuits • each PDS-60 linked via CAT5e cable to a network switch • 16 network switches for data transmission over Ethernet • Fiber-optic cable for long home-runs • PC as a main control station
- 20. Sensors 400 PIR Sensors in a RS485 Network, 4 per 15-foot Segment • Enable as many interactive experiences as possible • Approximate position of pedestrians for interactive games • Approximate distance of participants from lights • Integrated with the light control • PIR proximity sensors (Panasonic) PIR --3.5’-- PIR --3.5’-- PIR --3.5’-- PIR PIR P Computer MCU + RS485 MCU + RS485 Arduino + Network Ethernet 10x 15’ Switch Shield
- 21. Sensors Fabrication and Assembly • Arduino Uno, Ethernet Shield, RS485 Expansion Shield (left) • Arduino Mini, RS485 Expansion (right) • Sensor module, 4 per Arduino Mini connected via ribbon cable • USB 4-conductor cable for RS485 communication between Arduinos • Custom protocol designed by Pol Pla (Fluid Interfaces Group)
- 22. SmootLight: 364.4 smoots + 1 ear = approx. 2,000 ft 1958 hack by LCA fraternity to measure the bridge by placing Oliver Smoot (he became the chairman of the American National Standards Institute!) end over end on the Harvard Bridge and painting markers that are refreshed every year. The unit has been included in the Google calculator. web.mit.edu/spotlight/smoot-salute/ 22 www.flickr.com/photos/wallyg/150875901/
- 23. Software: SmootLight Russell Cohen, Eugene Sun, Andrew Chen, Dave Lawrence, Daniel Taub, David Xiao Diagram: Russell Cohen
- 24. Responsive Railing LED Lights installed on the exterior of the bridge railing in a 1,500-foot long gradient 24 Photo credit: Peter Schmitt
- 25. Interaction Patterns abstract patterns to interactive games glowing light to visualize ambient using simple, low- accompany urban data, e.g. traffic resolution animations pedestrians as they like lines cross the bridge 25
- 26. Photo credit: Peter Schmitt
- 27. Photo credit: Peter Schmitt
- 29. Volunteers We couldn’t have done it without them… Photo credit: Bill Fitzpatrick
- 30. Volunteers We couldn’t have done it without them… Philips ColorKinetics - John Warwick, Fernando Matho, Joe Aubin, Emily Augason, Derek Cascio, Jeff Johnson, Priscilla "Buzzy" McLaughlin, Stephen Lee, Jonathan Levy, Trevor Lorden, Brad Mills, Rob Piccirillo, Jon Seidman, Max Shaffer, Ben Sweet-Block, Phillip Tripoli, Yan Tran, T.J. Wilcox MIT Media Lab Necsys and MIT IS&T - Andrew Bonvie, Joe Doherty, John Morgante, Peter Pflanz, Jane Wojcik, Paula Aguilera MIT 150th Anniversary Commitee and FAST Festival Organizers - Kelley Brown, Leila Kinney, Tod Machover, Paul Murphy, Meg Rotzel, Meejin Yoon MIT Media Lab and MIT Facilities Kevin Davis, John DiFrancesco, Taya Leary, Andrew Lippman, Pattie Maes, Martin Seymour, Greg Tucker Annese Electric - Bill Fitzpatrick, Joe Annese Rosa Aleman, Feroza Ardeshir, Anne Beamish, Turner Bohlen, Liselott Brunnberg, Olimpia Estela Caceres-Brown, Kuan Cheng, Marcelo Coelho, Matthew Creedican, Gershon Dublon, Mark Feldmeier, MIT East Campus Undergraduate Housing Communities, Natalie Freed, Nanwei Gong, Mike Higgins, Davey Hunt, Seth Hunter, Evan Jonhson, Jordan Kauffman, John Kestner, Kurt Keville, Anna Kotova, Emily Lovell, Pattie Maes, David Mellis, Sohan Mikkilineni, Evan Moore, Bo Morgan, Kunal Mukherjee, Brian Mayton, Angelique Nehmzow, Kendra Pugh, Adriana Rodriguez-Pliego, John Ruediger, Jim Salem, Peter Schmitt, Roy Shilkrot, Jasper Sims, Praveen Subramani, Peter Torpey, Jennifer Wang, Natthida Wiwatwicha, Grace Woo
- 31. Photo credit: Peter Schmitt
- 32. 2 Inspiring New Pattern Languages Image Credit: Franco Vairani
- 33. Pattern Languages for Urban Form and Light: Then Lamps with and without light-deflecting globes, General Electric Review 22, December 1919. (Jakle 2001, Figure 5.3) 33
- 34. Pattern Languages for Urban Form and Light: Then Lighting zones by category of street in a hypothetical city. Ward Harrison, O.F. Maas, Kirk M. Reid, (1930). NY: McGraw-Hill, 122. (Jakle 2001, Fig. 5.7.) 34
- 35. IESNA Guidelines for Outdoor Lighting Illuminating Engineering Society. (2000) Lighting Handbook. Ch.10, p.10, Figure 10-6. Restaurant entry/parking lot
- 36. IESNA Recommended Light Levels for Outdoors (2000) Selected categories of outdoor space avg. horizontal avg. vertical illuminance (lux) illuminance (lux) bikeways (in commercial areas, by roadways) 10 20 bikeways (distant from roadways) 5 5 active-inactive building entrances 50-30 30 floodlit buildings, monuments in dark surroundings 30 floodlit buildings, monuments in bright surroundings n/a 30-100 (light to dark surfaces) gardens general lighting 5 2 garden pathways 10 3 MIT Rotch Library - Reference Collection | TK4161.I29 2000
- 37. Pattern Languages for Urban Form and Light: Now When we are creating projects like LightBridge the following questions arise: How do we teach students to do urban design when we can rearrange and reprogram infrastructures that respond to the changing nature of urban life? How do we design for this urban environment? (Luminair, www.synthe-fx.com) 37
- 38. Erwin Blumenfeld (1897-1969), City Lights (1946, 2008) C-type print, 40x30 cm.
- 39. “All sense of perspective and of realistic depth is washed away by a nocturnal sea of electric advertising. Far and near, small (in the foreground) and large (in the background), soaring aloft and dying away (…) these lights tend to abolish all sense of real space, finally melting into a single plane of colored light points and neon lines moving over a surface of black velvet sky.” (Eisenstein 1942, 1975., p. 98)
- 40. Responsive City Lighting Pattern Languages Buildings covered in 3D displays Visions for mobile street lighting, Lyon Ulrike Brandi, Light for Cities (Philips 1997, p. 17) workshop (Philips 2007, p. 37) (Birkhaeuser 2002)
- 41. Urban Pixels in the City Urban Pixels for Milla Digital, Zaragoza, Spain with Franco Vairani, rendering by Franco Vairani, www.squareddesignlab.com
- 42. Urban Pixels in the City: How would you control these pixels? Urban Pixels for Milla Digital, Zaragoza, Spain with Franco Vairani, rendering by Franco Vairani, www.squareddesignlab.com
Editor's Notes
- Talk about the relationship between urban form and light. My goals are to present some thoughts on the future of urban lighting as it relates the potential for highly programmable and dynamic light sources. This is very informal so please feel free to ask questions, interrupt etc. Also I’m hoping to get some of your feedback on challenges that you’re facing when it comes to dreaming up new products and application ideas.
- Harvard Bridge Symbolizes Connection to the Boston Campus of the 1861 Charter
- Fig. 6.29, The “classical auraof the Great Court was heightened by the placement of a large statue of Athena in front of the domed main building and by the paved, almost unplanted terraces that stepped down to a boat landing along the water. Automobiles and trees are completely absent from the center of the Esplanade.”
- It was then time for one of the most spectacular public events Boston had ever seen – an outdoor performance of “The Masque of Power” with more than 1,000 students and faculty participating. Steam engines blasted out mists that in turn were illuminated by hidden colored high-powered lights lights – all designed by the same firm that created the much-admired night lighting of the Pan-Pacific Exposition in San Francisco in 1915. p. 90-91As a final good-bye to the old building, one of the searchlights raised its beam into the air until it crossed in the sky with the searchlight on top of Old Rogers. Then slowly the two lights died out, leaving everything in blackness, except for a single shaft of light rising skyward from the new courtyard. p. 91
- Leaving the Rogers building at dusk, the procession made its way in silence to the shore of the Charles river where they boarded a lavishly outfitted boat, also designed by Cram. The barge featured Mother Technology holding a torch in one hand. Once onboard, search lights on top of the new MIT buildings trained their beams to the Charles river to illuminate the boat and guide it to the Cambridge shore. They then proceeded to the Grand Court.
- 10
- T10 = 1.25” diameterT8 is what we’re using in the end…
- Power Requirements and Data NetworkTotal average load ~3,300W, Maximum Capacity 4x20A CircuitsNetwork for data transmission via EthernetAvg. Load = [10,000 FlexSL nodes X 0.5W per node] X 0.5 + [100 PDS-60 X 8.3W]Maximum power requirements 5,830W/120V = 49A16 network switches (10x 8-port, 6x 24-port) for data transmission over Ethernet
- 8
- 1
- In the 19th century engineers began specifying public lighting in great deal. 5.3: Lamps with and without light-deflecting globes. Shown above are the patterns of light thrown by each lamp. Shown below is the related light intensity measured in foot-candles. On the left the luminance is substantially deflected down on the street, on the right it is not. ….the above diagram shows the patterns of light thrown by each lamp. Light intensity is in foot-candles. Light A deflects more light onto the street. 5.8 (p. 105) Recommended lighting for residential street. Hierarchically ordered. 2,500-10,000 lumens at various heights…1929. Engineering perspective / priority. Quantification Automobile and driver’s needs shaped direction/development.Focused on asking “how much light” should there be?”, rather than “what should the quality of light should there be”?”
- The result of this engineering specification was a hierarchical organization of the city which works well…..however…..what happens when you can rearrange, reprogram and respond to the changing nature of urban life? Infrastructures of imageability….Lighting zones by category of street in a hypothetical city. (1930), Ward Harrison, O.F. Maas, Kirk M. Reid, NY: McGraw-Hill, 122. Diagram shows how city streets were characterized by their importance. Busiest and downtown were the brightest…How lighting engineers organized city streets hierarchically, busiest thoroughfares and downtown areas lit at highest intensities. (Jakle 2001, p. 104)
- Illuminating Engineering Society of North America, http://www.ies.org/ provides “Illuminance Recommendations” organized by visual tasks (orientation and simple, common, special) and seven categories (A public spaces, B simple orientation for short visits, C working spaces, D and so on…)primary focus is still to achieve the best light levels on the surfaces which are supposed to be illuminated, even if the calculations are more complexMost measurement instruments utilize either photodiodes, charge-coupled devices (CCDs) or photomultiplier tubes (PMTs)determining appropriate levels of lighting mixed vehicular and pedestrian areas defined in terms of horizontal illuminance and uniformitydifferent heights for roadway lighting (8-10 m) and pedestrian areas (5-6 m)uniformity: ratio of the minimum illuminance value divided by the average value, e.g. 0.8 for the working area in an office (ibid., p. 93), otherwise called the light distribution on task planeRobert Bean. (2004) Lighting: Interior and Exterior. Oxford, Burlington, MA: Architectural Press, Part 3: Chapter 24, p. 275-280.Or from the thesis in New York IT:Lighting of roadways, sidewalks, avoiding objects and wayfindingSafety of users security against crime and theftHorizontal illuminance: “density of luminous flux falling onto a horizontal surface, measured in lux (lumens per square meter) or footcandles (lumens per square foot), measured 0.91m or 36 inches above the ground at grade outdoorsVertical illuminance: Same thing only on vertical surfaces
- The result of this engineering specification was a hierarchical organization of the city which works well…..however…..what happens when you can rearrange, reprogram and respond to the changing nature of urban life? Infrastructures of imageability….
- Exciting problem space for painterly approaches to urban display and information systems that fulfill the design criteria listed earlier:flexible placementautonomous powerunboundedvariable resolutionresponsiveThe temporary installation on the theater façade in Scotland begins to demonstrate some of these criteria in action:-- The temporary light installation was spontaneously placed on a theater façade without support infrastructure. The network of pixels enhanced the building leaving no traces behind after its deployment. -- The interactions between changing natural conditions and the lighting units enriched the preprogrammed display patterns significantly. Together, the natural and programmed patterns demonstrated the merits of a painterly approach to deploying points of light in an urban scene that could be explored further. -- The system supports user-deployment as well as larger-scale deployments for many different kinds of temporary applications. -- Visitors to the theater enjoyed interacting with the system and the visual effect it had on the theater. Many more aesthetic and interactional possibilities remain to be explored. More experimentation is required to explore the full potential of these “liberated” infrastructures that blur the boundary between urban displays, ambient information systems and traditional infrastructures such as urban street-lighting, but I hope I’ve convinced you of the exciting potential that this direction proposes.
- Strategically deploying light shapes our impressions of a landscape, especially at nighttime, and allows us to do at least two things: First, we can reinterpret urban space using light. Unlike during the daytime when many physical relationships remain fixed, light makes it possible to edit the nighttime landscape. early on photographers realized that they could re-interpret well known urban spaces at night using light strategically For example, Stieglitz writes in the late 1890s: “Such imperfections (like halations) introduced (…) life into nighttime images and recreated what the photographer saw as he exposed the image. This was ‘real picture-making,’ as opposed to a mere topographical view.” (Neumann, D. Architecture of the Night: The Illuminated Building. Presetel, Munich, New York, 2002, p.69)Second, we can use animation, i.e. moving light to impact our sense of spatial relationships.The film maker Eisenstein describes this effect in the following way: “All sense of perspective and of realistic depth is washed away by a nocturnal sea of electric advertising. Far and near, small (in the foreground) and large (in the background), soaring aloft and dying away (…) these lights tend to abolish all sense of real space, finally melting into a single plane of colored light points and neon lines moving over a surface of black velvet sky.” (Eisenstein, S. M. The Film Sense. Jay Leyda, transl. and ed. Harvest Book, Harcourt, Brace & World, New York, 1942, 1975., p. 98)The following examples demonstrate how these abstract, “painterly” strategies can be translated into specific technological interventions.