S TORE S PACES ILLUMINATING FIVE POINTS OF LIGHT By Ken Nisch W By putting light at the point of a product, the inherent qualities of product, whether color, texture, form, reflectivity or even brilliance in the case of jewelry (by restricting the ambient foot candles and focusing the light source on prod- uct), today’s designer can do much more with less in terms of energy and “wasted” lighting. ithout light, design doesn’t exist and cannot be seen or experienced. Increasingly, light goes beyond pure function, performing an aesthetic role in assuming center stage. Much of this enhanced role is a by-product of almost limitless possibilities in its placement or flexibility, changeability and even practicality of using light sources in places and ways that were previously inconceivable. Light is no longer just about seeing. More and more, it is being used as a design tool in- tegral to creating exciting retail environments. With that in mind, here are five new ways to think about light: to “pop.” Or as Tom Bodett so famously said in the commercial, “Leave the light on” for the guest to view the store after closing while enjoying a post-dinner stroll. 4. Texture When specifying materials and hardscapes, often the “value” of the material is underlev- eraged through lack of appropriate lighting. The ability to graze dimensional materials, to heighten the shine and shimmer of polished or honed materials, and to bring out the glow and the warmth of found and natural materi- als — all rely on lighting to optimize their natural beauty. In the placement of lighting whether internal to create patterns and shadows, or behind to bring out the material’s natural warmth and in- herent detail, texture brings the products to life through imaginative placement of light sources. 1. Changeability 5. Pattern Photo: Troy Thies Photography Change allows lighting flexibility whether to create mood and daypart within spaces — from a romantic evening to a sun-filled morning, a dramatic and bold uplit feature or backlit execution, through to a cool and starkly lit futuristic space. Changeability allows the designer to be much more of a “conductor,” leading an orchestra of light through a symphony of moods, tones and emotions. Whether this composition involves the changing of color, direction of light, brightness, and either perceivable or unperceivable motion, or taking a neutral landscaping form and shape, light can dramatically reshape the experience and perception of space. Accent lighting pieces provide a great “pop” at the Sundance store at Galleria Edina, Edina, Minnesota. 2. Contrast 3. Pop Today, with the changes of size, format and configuration, contrast lighting increasingly is being incorporated into fixtures, architectural el- ements, flooring and soon even in the products the retailer sells. This will allow light to be more focused, directed and discreet, rather than the previously more scattershot approach to ambi- ent lighting that most designers relied on. While much has been done to conceal and hide the new flexible light sources that allow the fixture to be much more discreet, “pop” permits lighting to “shine” and be a star in its own right. This may be uniquely done through futuristic or retro bulbs, the use of light- ing to create a sense of space, or even as a welcoming element of warmth in fitting rooms 32 Lighting is pattern because of its inherent elements. Creating contrast and pop, lighting becomes a natural choice when looking to establish strong patterns for walls or ceil- ings. A pattern helps draw attention, creates rhythm and movement, and helps define and separate zones and areas of the store without the barriers of walls and physi- cal dividers. In looking at pattern, its use takes lighting layout from the hands of the engineer into the hands of the designer, still satisfying the basic practical needs of light- ing, but creating a 1+1 = 3 situation. By leveraging the enormous variety of light- ing fixtures, whether linear, pendant or planar, these elements define space and create visual interest through repetition and geometry. As one ancient lighting designer once said, “Let there be light!” Kenneth Nisch is chairman of JGA, a branded environments firm in Southfield, Michigan, where he creates concept and prototype development and brand image positioning. He can be reached at [email protected]. FEBRUARY/MARCH 2016 / CHAINSTOREAGE.COM