42|REPORTAJE “Once overcome the physical or perceptual object, the Light Art moves towards the emotional explora- tion of the subject”. change the subject psychological emo- tions. This, unfortunately, move literally to many architectural projects, without a previous critical reflection upon the relationship between light, colour and the architectural space. Recently, the interaction with the ob- server is performed based on sensors and actuators on measurable parame- ters. An architectural antecedent is the project of Toyo Ito’s The Tower of the Winds, in 1986. Often the parameters that command the relation with the work are easily measurable, such as heat, motion, noise, etc. It is a type of interaction based on quantity parame- ters. The evolution of these proposals should be directed towards psycholo- gical and emotional interaction. From Colour-therapy, as a healing technique, should be advanced into the light- therapy. Some of these works are examples Volume of the artists United Visual Ar- tist, at the Victoria and Albert Museum in London, and Current 3 by Virginia Folkestad in collaboration with 186 Lighting Design Group, at St. Railroad Bridge in Denver. 4 Atmosphere creation. The atmos- pheric light. Density and space In the last period of the Light Art we find that light and space are arranged to form an indissoluble whole, creating a density and an atmosphere in which the viewer enters, carried away by the senses, to worlds of intimate reflection. In some cases the experience of light does not need any container space, which is not important, it is only ne- cessary for the physical containment of light in an artificial environment. Works like Beauty, The weather pro- ject or Your atmospheric Color atlas by O. Eliasson recreates the experience of the luminous atmosphere. The exploration of natural phenomena such as lightnings and the aurora bo- realis, and the creation of artificial light atmospheres in urban outdoor spaces, is one of the last proposals of the Light Art. Works like Yelow Fog at the Jewish Museum, New York, of. O. Eliasson, The Lightning Field by Walter di Maria are examples. 5. The influence in architectural lighting Reached the present time we should remember the claims of pop artists of the sixties. The great attractive of the Light Art is that its exhibition space is outside the physical concepts of ‘museum-gallery’ and this allows the artist to access a wider and unspeciali- zed audience. The Light Art artists have found in the field of architecture, a proper space for expressing their ideas and express them interactively with the viewer. Zug railway Station de Zug, Suiza. J Turrel y Hornberger Architekten