Lighting Limes (by Ranko Skansi)

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LightingLimesbyRankoSkansi,M.Sc.

Ranko Skansi, M.Sc.

LIGHTING LIMES

Summary

When we speak lighting, we usually mean technology. But, theres a whole

world of emotions, feelings, ergonomics and other almost poetic stuff, hidden

behind lighting. If an architect is really good, and fruitful then a light

designer should follow his steps accurately. Light designer have to

understand basic and advanced ideas of an architect. Only if this occurs a

final result will be satisfying for everybody.

Architecture is copy of nature, and if it is really good copy, then an

atmosphere inside newly created space can be pleasant. But it is not enough

to have walls and furniture. The most important thing about emotions (when

we speak about architecture) is adequate lighting, But to be good light

designer, means understand premises of nature, needs of people and

possibilities of synergy between architecture and lighting technology.

Povzetek

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1. Introduction

In order for the light to shine so brightly, the darkness must be present. (Francis Bacon)

What does it mean? It means that only where there's darkness we can be aware of light, because

from the contrast we will see the light.

To be able of creating good light design, one has to enter into the mind of architect (for whom we

presume already entered into the head of his customer). This technique will help us in our creation

procedure. Even if this seems very tricky, and somehow spooky, this is not as complicated and delicate

as it seems to be. The only thing we have to do is to understand nature in its beautiful form and

varieties, and at the same time, recognize clients needs and expectations. If there are enough

information about our client, his space, architects vision and usable technology, we have all the

necessary tools for good light design.

2. Basics

Light is invisible until it reflects from an object. Form of the object along with intensity, distance

and direction of the light creates new form: SHADOW! We can say that: SHADOW DEROGATES

LIGHT!

Meaning of this is that light as a media is completely invisible. We can see it only if there's

something on its way. It can be an object, so light will stop when it touches an object. In that very

moment, light will somehow become an object. If some part of the lighting rays missed the object, they

will continue to exist as the object's part, because they will form a new element, a new form: the

SHADOW! In a way, we can say that shadow derogates the light! Nature, creates by force and by

light, various stabile and unstable shapes, that can last forever, but also only for a fraction of the

second. Nature emphasizes details, making them marvellous and unique, so they will hardly be

overcome. And at the same time, nature highlights shapes she created, so one can understand all the

plastic details and perspective relations. And, at the end, nature reveals secret parts that will be offered

only to a persistent viewer and honest soul.

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Architecture is the masterly, correct, and magnificent play of masses brought together in light. Our

eyes are made to see forms in light; light and shade reveal these forms. (Le Corbusier)

Famous architects become famous because they had ability to copy the nature in different but

accurate details. By means of architecture, we have a creation game done by the force of light, wherepatterns change during the day and during the season, so we have continuous play of forms and shapes.

By highlighting particularities, designer or an architect build memories that will remain incised in our

mind, revealing only pleasant emotions.

As nature has been replicated in the architecture, we had to find a way how to replicate it by

lighting too, so we can remain compatible with a nature.

Natural lighting can create geometric shapes, can surprise by sudden impact of sunlight, can

provoke the religion by its ray, and can confuse our perception by creating forms that are not logical on

the certain object.

If we understand premises of natural light, we can imitate it by use of artificial light. However, to

do this, we have to study accurately what lies behind the scenes. Only in this way we will reach point

of understanding the concept of lighting in its basic nature. And only then, we will be able to perform

really good artificial lighting.

3. Lighting creations

To create with light...

... means to understand unbreakable connection between light and shadow.

And when we meet the shadow and begin to understand it, we will find out how light and shadows

are connected forever and ever. Object will not exist if there's no light, but light will never show as an

object if the shadow will not appear.

To understand light...

... means to understand variables of the nature!

Means to enter into the mystic and secret world of nature's profound. When the nature lifts up the

skirt it means that she let us understand what lies beneath. Then we will be honoured by a knowledge

only few could see and touch. This knowledge will open us new horizons and will guide us to the new

frontiers. We will reach coast of the lost island where all the secrets are revealed. And when we

profoundly understand what nature showed us, we will be rich and wise. Only then we will be able to

perform pale copies of the natural phenomena and only then our work will be prised by the people who

will be close enough to see our work.

To live light...

... and in a subtle way to introduce it to our own space!

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What does it mean? It means that when we conquer the lost island of truth, we will understand all

the various forms of light and shadow, so we will be able to improve our living by introducing

accurately studied lighting systems to our life and to our home.

4. Light designers tools

Brightness

Brightness is the basic tool, and by understanding possibilities of brightness will permit us to

establish a correct level of illumination. As we already know, difference in brightness, present in the

same space, creates contrast. It is important to know that too much of brightness will create glare and

discomfort in the space. Too less of brightness can create other type of uncomfort, maybe even an

anxiety. Thats why we speak about brightness at the first place.

When no obstacle is on the way of light, brightness reaches its maximum values. Then nature

opens all the secrets to our mind, so we can be absolutely sure that what we see is what we'll get. In the

spaces where good orientation, and good task performance is needed, we have to create same

atmosphere.

Glare can occur if the intensity of light from the direction we are looking at is too high, or if the

contrast between light source we are looking at and its background is very high. In such a cases we will

find difficult to see beyond this glaring light source. Sometimes it is good to create such scenery by use

of artificial light, but those cases are rare. Nature, however, play with all the means she have, so glareand blinding light can be found on the daily basis, specially where the air is clean and the humidity low.

Brightness is in direct relation with illumination, so to have an idea of how it works in the nature,

we can show natural (and some artificial) light sources and relative illumination level that they

produce. Next table shows basic values:

Illumination Example

0,0001 lux Cloudy night without moonlight

0,001 lux Clear night without moonlight0,01 lux Crescent moon

0,25 lux Clear night full moon

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In the context of artificial lighting we do use intelligent electronic systems to dim the light, but in

the nature, clouds do this function. Thickness of the cloud layer will define final intensity of sunlight,

so we can have extremely subtle light in the middle of the day, as well as full clear spectrum on its

highest intensity in the next moment.

Colour

If the brightness alone is not enough, or we speak about illumination of pure forms, without details,

we can improve our project by use of colour. Colour can be performed singularly or dynamically, what

depends on our imagination and on space possibilities. This light designers tool is delicate, because

unlike the brightness, colour is subject to taste.

Clever use of colour can perform so called cromotherapy, that will help people feeling fine and

relaxed under such an atmosphere. Theres a list of relations between colour and emotions, and is

shown in the next table.

GREEN Supports: Balance, Harmony, Love, Communication, Social, Nature, Acceptance

BLUE-INDIGOIncreases: Peace, Love, Honesty, Peace, Kindness, Truth, Inner Peace, EmotionalDepth, Devotion, Trust

VIOLET Stimulates: Intuition, Imagination, Universal Flow, Meditation, Artistic Qualities

REDIncreases: Physical Energy, Vitality, Stamina, Grounding, Spontaneity, Stability,Passion

ORANGEStimulates: Creativity, Productivity, Pleasure, Optimism, Enthusiasm, EmotionalExpression

YELLOW Increases: Fun, Humour, Lightness, Personal Power, Intellect, Logic, Creativity

From the other point of view, we can give each colour psychological meaning of response, as

presented in the next table:

RED Power, Energy, Vanity, Passions, Love, Aggression, Danger

BLUE Trust, Conservative, Security, Technology, Cleanliness, Order

GREEN Nature, Healthy, Good luck, Jealousy, Renewal

YELLOW Optimism, Hope, Philosophy, Dishonesty, Cowardice, Betrayal

PURPLE Spirituality, Mystery, Royalty, Transformation, Cruelty, Arrogance

ORANGE Energy, Balance, Warmth

BROWN Earth, Reliability, Comfort, Endurance

GREY Intellect, Futurism, Modesty, Sadness, Decay

WHITE Purity, Cleanliness, Precision, Innocence, Sterility, Death

BLACK Power, Sexuality, Sophistication, Death, Mystery, Fear, Unhappiness, Elegance

Like other elements, colour has different dimensions. It can be bright and subtle, it can be mixed or

single, and it can be improved by texture. We talk about colour of light even if we talk about white

light. Conventionally we can distinguish warm white from cold white colour of light. And theres a

whole palette of tones in between. Use of one particular tone depends on surrounding, basic purpose of

an ambient and our imagination. Hence, our imagination is not to be placed at the beginning of decision

process. It has to be strictly related to users needs and taste.

An experienced architect and interior designer knows that colour of walls, carpets, curtains and

ceiling is very important so they do not hazard by combining random colours or by forcing one colour

that is no appropriate. Maybe they dont know about table presented before, but they have a feeling for

composition, and that includes colour, too. One should know that natural light changes a tone of whiteduring the day. This is a natural process and all living beings are adapted to this interchange. In

artificial environment, where we introduce artificial lighting, we should copy those changes, to make

environment pleasant and synthetically natural.

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SOURCE CCT

DUSK / SUNSET 1000

CANDLE 1500 K

HIGH PRESSURE SODIUM 2000 3000 K

40W INCANDESCENT BULB 2680 K

TUNGSTEN / HALOGEN BULB 2900 3200 K

MORNING / AFTERNOON 3200 K

LINEAR FLUO TUBE 3000 6500 K

METAL HALIDE LAMP 2800 6000 K

XENON LAMP / ARC 4500 5000 K

NOON SUNLIGHT (OVERCAST) 5500 K

DAYLIGHT 6500 7500 K

POLAR DAYLIGHT 9000 12000 K

Brightness and temperature of the white colour directly influence feeling of comfort even in neutral

and standard environment. This relation is described by Kruithofs diagram. This diagram shows a

space of comfort and uncomforts combination of intensity and Correlated Colour Temperature.

PLEASANT

UNPLEASANT

UNPLEASANT

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Warm atmosphere, where everybody is relaxed, can be performed by reaching the point of

awareness that during the day, only in the evening, the natural atmosphere is warm enough to hug us

and to make us feel relaxed and in a friendly environment.

Relaxation is not the only emotion we have to have during our standard day. We have to beconcentrated and prepared to work. We have to be inventive and dedicated. We have to communicate

and have a focus on the important things. Only by use of cold white light this will be possible to

achieve.

Best performance in our space can be obtained by use of dynamic lighting that changes CCT

during the day, imitating natural phases of lighting.

Light in nature changes at the random rhythm. If at one moment we do have high intensity of

lighting from the clear sky, and next moment cloud covers the sun, we will have dramatic drop of the

lighting intensity. It also happens with colour, when we do find ourselves in the situation of various

colour objects around us. Every each of them reflects light and this light will be coloured. If the sun

becomes covered by a cloud, those colours will change, too.

In the nature we will not find a situation where colours are not compatible one with another.

Unfortunately, we can do the mistake by creating coloured atmosphere by our own, so again, we have

to impair from the nature, because only then we can hope not to do the mistakes in colour relations.

Direction

Everything in the nature is in balance. Sky andground, night and day, sea and coast, left and right, up

and down. Balance is the moment when no wind blows

and when no sound changes the perception of the space.

If nature does that, we have to do that, because we have

to perform copies of the nature. One of the reasons is

that we as a species, have learned and impaired to have

those natural situations pre-programmed in our brain. If

this kind of balance is what we need, we also have to be

able to do it in artificial situations.

One of the most important light designers tools isdirection of lighting. Natural light always comes from

above, although, when we speak about artificial lighting,

it unusually comes from below. The reason is pragmatic

we usually dont have an opportunity to place our

luminaries high enough to simulate natural lighting,

especially sunlight!

However, lighting from low elevations is not useless.

There are a huge number of possibilities that we can use

in our exterior and interior ambient. Even more,

artificial lighting offers us some theatrical possibilities that can be used in special situations. Also,unlike natural, artificial light can be modulated in various dimensions: brightness, colour, direction,

contrast and time!

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Contrast

Contrast is the difference in colour and/or brightness between an object and the background.

Nature shows its beauty by use of accent light. If the air is polluted by aerosols or mist, natural

accent light will be more than obvious. Good architects during the history understood that effect so

they used it for different purposes. One of the most important situations where they used accents were

in sacral architecture, where light and shadow are most important elements of liturgy, because they

create final atmosphere, and with this, special emotions and states of mind.

Sometimes we have to pull out an object

from the background, to make it more visible

or more important. We have to do it by use

of contrast, if we are speaking about light.Contrast in brightness or contrast in colour

will do almost the same effect.

When we do have high intensities of

light, it is almost impossible to perform

contrast in brightness. But as the nature can

do it, we can do it. We can create contrast in

colour; so again, we will have good

understanding of the particularities and

important parts of the scenery.

Time

Nature knows when its' time to stop with high power lighting that shines during the day. Then the

nature starts to dim her's natural lights. The atmosphere becomes subtle and gentle, shadows become

longer and deeper, and the day goes to rest. This moment of the day, we have to remember, because at

the same time we, human, and our body will start to prepare for the rest. Artificial lighting has to be in

grade to perform identical atmosphere in our space.

Variations in brightness, as usually exist in the nature, is almost impossible to create in our

artificial spaces. Hence, if we study natural variations of the average brightness during the day, we

could create a copy of those variations in the interior space. This can be performed by introducing so

called Dynamic lighting.

5. LIGHTING TASKS

Basic lighting tasks are presented by the circular diagram, and it is obvious that we have to comply

different premises for having the light accurately planned. We have to create mood, atmosphere and

emphasize an emotions (together with an architect), by combining architectural space and professional

lighting systems. We have to reach good visual comfort to let people perform their tasks without any

visual obstacles. Of course, illuminating system has to have adequate aesthetical impact, so it will be

compatible with the rest of the space. Health and security are maybe most important tasks to perform,

and we will try to fulfil those requirements by usage of adequate colour temperature and good dynamic

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lighting systems. To perform good social communication, in the working and public environment we

will combine artificial lighting with the daylight, and in this manner be at the course of compatible

cooperation of them both. To create better working environment, we will study lighting systems for

every particular situation.

Lighting quality depends on

function and aesthetics.

Functional lighting system has

to perform good visibility,

clarity and as low glare as

possible. From the other hand,

however, aesthetics of lighting

depends on creation of the

atmosphere, highlighting

particularities and revelation of

the paths and directions. Thiscombination will guarantee

good and quality lighting.

Other way to describe

lighting quality is differentiation of performance, ambient and pleasure. Performance means that we

have to obtain uniformity, glare reduction as much as possible and appropriate intensity. For the

model, we do have to understand the space, to adapt CCT to it, and to study carefully direction of

every each luminaries beam. At the end, pleasure has

to be fulfilled. This will be done by careful choose of

good colour rendering sources and finding an optimal

contrast relation.

Diagram shows relation between sharpness of the

view and lighting intensity. By increasing of the light

intensity, we will have better and better visual

performance. (Elderly people can read newspaper on

the sunlight).

Next diagram shows relation when 20 year

old person have full satisfaction with visual

performance at 100 lux, for person of 60 yrs. It

has to be more than 200 times higher to have

same satisfaction. Diagram has been created to

show various age relations.

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In the ambient where illuminance increases

from 90 to 500 lux, we have 15,9 % of better

detail notification, 9,4% of improvement in

logical thinking and 5% of improving in fast andaccurate calculation.

Those parameters are important to know

when we want to create correct atmosphere for

demanding spaces such as office and school.

Next diagram was made as a result of

various interviews among children and their parents, but also among teachers and their families. It was

discovered that more accurate answers were given by family than by direct user of the space.

By implementing the dynamic lighting in the

schools, we had following results:

Kids and teachers are 76% less tired!!! Level

of concentration increases for 45% and speed of

accurate reading increases for 35%!

That information was implemented in all of

our next projects, when we talk about

educational institutions. Combination of correct brightness, glare control, uniformity, CCT as dynamic

lighting system guarantees us good creation of educational institutions.

6. DESIGNING THE LIGHT

Lighting has to be made for people, same as

places are made for the people. Only if those

extremes are in balance, result will be satisfied.

Quality of lighting is context of knowledge and

possibilities. We divided all the possibilities in only

three main and three secondary categories, that in

total covers all the lighting extremes.

AESTHETICS

We have to know that lighting is the most

important part of the site equipment. It is better to

have empty space with good lighting that perfect

interior with poor lighting. Lighting has to be in line

with the rest of interior, so luminaries had to be

compatible in design sense, with the rest of thespace.

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FUNCTION

As mentioned before, lighting has to obtain functional dimension of the space. A part of this we

have various scenarios at our disposal, and modern technology offers us simple controlling systems.

EMOTIONS

Emotions are what we are talking about and all of the previous talk was performed for! Careful

variations in lighting levels in combination with different CCT's and luminaries positions will guide

emotions in desired direction.

ARTIFICIAL LIGHTING

Studying an artificial lighting means careful choose the number of luminaries, types of light

sources and optimization of energy consumption.

DAYLIGHT

More daylight we use, more efficient our installation will be, and more satisfied client will be! To

find an optimal balance between daylight and artificial lighting, will ensure good finalization of a

project. Our intelligent control systems have to be able to decide whether to switch off some luminaries

close to window or not, depending on intensity of outer lighting.

CONTROL

To save money is the basic idea of every investor. If we equip our lighting system with presence

and daylight sensor we can obtain up to 60% of savings! Further savings can be done by combinationof our lighting control system and other automated systems on the site (shades, ...)

In general we can say that different tasks ask for different lighting. In the relaxation context, we

have to offer warm light in medium intensity provided by various small luminaries. Communication is

best performed under the cold light of medium intensity with combination of sources. Concentration

demands for cold light of high intensity from the few, usually hidden or neutral luminaries.

RULES FOR GOOD LIGHTING

Adequate illuminance

The performance of the human eye largely

depends on the level of illuminance in the visual

field.

As illuminance increases, motivation and

overall performance are also enhanced, while the

tendency to make mistakes declines.

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Harmonious distribution of luminance

A balanced distribution of luminance on the

various surfaces makes an interior visually

interesting.

Inadequate or excessive contrast, on the other

hand, causes visual strain and fatigue..

Adequate glare control

Glare in an interior is rarely so severe that

visual performance is significantly reduced, but it

can be irritating and cause eye strain.

When we do have glaring surfaces (glass outer

wall, reflection from the pavement), we do have to

balance it to make ambient in balance.

Good contrast rendition

Contrast is necessary for the human eye to be

able to discriminate between objects and their

background.

A lighting system with good contrast renditiondoes not cause reflected glare even on shiny

surfaces and documents, so that text is easy to read

even on glossy paper.

Dark surfaces in our mind seems more distant,

and picture like this can somehow disturb our

perception of the space, because even if the object is close to us it has brightness much lower than

more distant surfaces. We understand that kind of composition as illogical. We can improve this

situation by adding some spot light that will illuminate dark surface of the metal sculpture.

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The right direction of incidence

The direction of incidence of light is important

for Contrast Rendition, as it determines the angle at

which any reflections can be seen.

It influences the distribution of light and

shadow, which is the key to three-dimensional

vision on the one hand, and can be irritating or even

dangerous in the case of heavy shadows, on the

other.

Pleasant shadow conditions

Shadows reinforce three-dimensional vision and

facilitate orientation. Good shadow conditions are

the product of an effective combination of diffuse

light and directed light.

It is of essential importance to have constant

perception of the surrounding space, even in the

moments of complete relaxation. By use of gentle

shadows, we can provide good surrounding for

people enjoying this wellness centre.

Suitable colour appearance

In the course of the day the light appearance of

natural daylight changes. Artificial light can also be

produced with different light appearances or colours

so as to support various lighting functions and

moods.

Our desire is to create an atmosphere as close

as it can be to the natural environment. Only then,

objects in the room will have their natural outlook,

and will be understandable to our mind.

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Natural colour rendition

Only the spectral colours that are contained in

the incident light can be reflected by an object and

perceived by the human eye.

Colour Rendition is a measure of the ability of

an artificial light source to show the natural colors

of an object.

Effective lighting atmosphere

Light affects our mood and feeling of wellbeing.

The result is a subjective, more or less unconscious

impression of an interior and its light. This aspect

of good lighting planning also requires a degree of

experience with the interplay of the various factors

and a fine feeling for good light.

Sometimes light will be created as personalisedlighting object, so it will fit perfectly in our

ambient. By use of this we will help in creating

particular atmosphere.

Efficient energy consumption

A basic requirement for modern lighting

planning is the careful and economical use of

energy. The various solutions now available relate

not only to new installations, however, but also to

retrofitting and refurbishing old and inefficient

systems.

In certain occasions we can use really simple

lighting system to perform all the lighting needed in

our ambient. At the same time, we will save energy,

and have our ambient energy efficient.

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REFERENCES

LIGHTING

Lindsey, Jack L. (1991). Applied Illumination Engineering. Lilburn, Georgia: The Fairmont Press,

Inc.. ISBN 0-88173-060-2.

Fetters, John L (1997). The Handbook of Lighting Surveys & Audits. CRC Press. ISBN 0-8493-

9972-6.

Guo, Xin; Houser, Kevin W. (2004). "A review of colour rendering indices and their application to

commercial light sources". Lighting Research and Technology 36 (3): 183199.

doi:10.1191/1365782804li112oa

Burchett, K. E. (2002). Color harmony. Color Research and Application, 27 (1), pp28-31.

O'Connor, Z. (2010). Color harmony revisited. Color Research and Application, 35 (4), pp267-273.

Pointer, M. R. & Attridge, G.G. (1998). The number of discernible colors. Color Research and

Application, 23 (1), pp52-54.

Hard, A. & Sivik, L. (2001). A theory of colors in combination - A descriptive model related to the

NCS color-order system. Color Research and Application, 26 (1), pp4-28.

Feisner, E. A. (2000). Colour: How to use colour in art and design. London: Laurence King.

Mahnke, F. (1996). Color, environment and human response. New York: John Wiley & Sons.

Bellantoni, Patti (2005). If it's Purple, Someone's Gonna Die. Elsevier, Focal Press. ISBN 0-240-

80688-3.

O'Connor, Z. (2010). Colour psychology and colour therapy: Caveat emptor. Color Research and

Application, (Published online in 'EarlyView' in advance of print).

Albers, Josef (2006). Interaction of Color. Revised and Expanded Edition. Yale University Press.

ISBN 0-300-11595-4.

COLOUR

Goethe, Theory of Colours, trans. Charles Lock Eastlake, Cambridge, Massachusetts: The M.I.T.

Press, 1982 ISBN 0-262-57021-1

Bockemuhl, M. 1991. Turner. Koln: Taschen. ISBN 3-8228-6325-4.

Duck, Michael, Newton and Goethe on colour: Physical and physiological considerations, Annals

of Science, Volume 45, Number 5, September 1988 , pp. 507519(13). Taylor and Francis Ltd.

Gleick, James Chaos, pp. 1657; William Heinemann Publishers, London, 1988.

Proskauer, The Rediscovery of Color, Steiner Books, 1986.

Ribe, Neil; Steinle, Friedrich, Physics Today, Exploratory Experimentation: Goethe, Land, and

Color Theory', Volume 55, Issue 7, July 2002.

Schopenhauer, On Vision and Colors, Providence: Berg, 1994 ISBN 0-85496-988-8

Sepper, Dennis L., Goethe contra Newton: Polemics and the Project for a New Science of Color,

Cambridge University Press, 2007 ISBN 0521531322

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Steiner, Rudolf, First Scientific Lecture-Course, Third Lecture, Stuttgart, 25 December 1919;

GA320.

Steiner, Rudolf, Goethe's World View, Chapter III The Phenomena of the World of Colors, 1897.

Wittgenstein, Remarks on Colour, Berkeley and Los Angeles: University of California Press, 1978

ISBN 0-520-03727-8

ERGONOMICS

Jan Dul and Bernard Weerdmeester, Ergonomics for Beginners - - A classic introduction on

ergonomics - Original title: Vademecum Ergonomie (Dutch) -published and updated since 1960's

Stephen Pheasant, Bodyspace - - A classic exploration of ergonomics

Kim Vicente, The Human Factor Full of examples and statistics illustrating the gap between

existing technology and the human mind, with suggestions to narrow it

Donald Norman, The Design of Everyday Things - - An entertaining user-centered critique of

nearly every gadget out there (at the time it was published)

Liu, Y (2007). IOE 333. Course pack. Industrial and Operations Engineering 333 (Introduction to

Ergonomics), University of Michigan, Ann Arbor, MI. Winter 2007

Wilson & Corlett, Evaluation of Human Work A practical ergonomics methodology. Warning:

very technical and not a suitable 'intro' to ergonomics

Wickens and Hollands (200). Engineering Psychology and Human Performance. Discusses

memory, attention, decision making, stress and human error, among other topics

Alvin R. Tilley & Henry Dreyfuss Associates (1993, 2002), The Measure of Man & Woman:

Human Factors in Design A human factors design manual.

Valerie J Gawron (2000), Human Performance Measures Handbook Lawrence Erlbaum

Associates - A useful summary of human performance measures.

Peter Opsvik (2009), "Re-Thinking Sitting" Interesting insights on the history of the chair and how

we sit from an ergonomic pioneer

Authors address

Ranko Skansi, MSc.

LUMIGEA

Bolnicka 34 F, 10090 ZAGREB

Hrvatska (Croatia)

priv. e-mail: ranko.skansi@zg.t-com.hr