Landscape lighting: Who is it suitable for?

Urban lighting management authorities often face a common dilemma: after a landscape project is completed, it may be endorsed by both leaders and the general public—yet elicit opposing views from experts and scholars. How can this situation be avoided? In my view, the first step is to clarify who the intended audience for the landscape lighting is.

Landscape lighting is a subject of widely differing opinions. Some prefer the serene simplicity of monochrome, while others favor the vibrancy of full color; even within monochrome, preferences vary—some lean toward white, others toward a single hue; and among whites, some prefer warm tones while others opt for cool. As an open, publicly accessible form of consumption, landscape lighting is closely tied to the quality of urban residents’ nighttime lives. Consequently, the outcomes and quality of its implementation attract intense scrutiny from experts and scholars, as well as from local residents and visitors alike.

In recent years, landscape lighting has grown increasingly popular across China. From first-tier cities to small towns, and from east to west, landscape lighting installations have sprung up everywhere. Yet as a kaleidoscope of colors, lighting elements, and illumination techniques unfolds before our eyes, whose aesthetic standards should prevail—those of the general public or those of experts? And when it comes to the quality of landscape lighting projects overseen by government authorities, whose judgment should carry the day?

Public Aesthetics

Some argue that nighttime scenery is primarily intended for the general public and should therefore be shaped by mainstream aesthetic preferences. Chinese culture has long prized vibrancy, communal gatherings, and a riot of colors—let’s call this “popular aesthetics.” Consequently, dazzling displays of color, dynamic movement, and eye-catching spectacle are all highly favored and align with Chinese aesthetic sensibilities. This aesthetic ethos has, to a significant extent, guided landscape lighting projects across the country.

However, the general public does not, at its core, exhibit strong aesthetic preferences. In terms of aesthetics, the public is not particularly discerning; rather, it tends to accept whatever is presented. Furthermore, the public shows limited willingness to articulate personal views on landscape lighting, possesses only moderate expressive capacity, and lacks adequate channels for such expression.

Elite Aesthetics

In contrast to popular aesthetics stands elite aesthetics. As the name suggests, elite aesthetics reflects the aesthetic definitions and preferences of the social elite. Members of the social elite generally enjoy advantages in cultural attainment, cognitive ability, and expressive capacity, which enable them to develop relatively independent aesthetic sensibilities and resist mere herd mentality. Classicism, restraint (or subtlety), discipline, concern—for humanity or for nature—and inclusiveness are the defining characteristics of elite aesthetics.

Elites are adept at critical thinking, possess strong communication skills and a keen desire to express themselves, have access to diverse channels of expression, and often wield significant influence over public discourse on social issues.

The essence of landscape lighting aesthetics should be elite aesthetics.

There is a significant difference between popular aesthetics and elite aesthetics. In landscape lighting projects, it is common to encounter two fundamentally opposing design approaches, leaving the design team at a loss as to which to follow. At its core, this divergence stems from the intense clash between popular and elite aesthetic sensibilities. Given the public nature of landscape lighting, the primary concern—and greatest challenge—for the authorities responsible for its implementation is how the public will perceive and evaluate the project. Among all stakeholders, the elite, who wield considerable social influence, exert the most profound impact on the architectural community. Consequently, the essence of landscape lighting aesthetics should be understood as elite aesthetics: landscape lighting products should first be crafted with the elite in mind, and only then made accessible to the general public. By grounding design decisions in this principle, we can substantially mitigate the pressure of public opinion in the later stages of the project.

In landscape lighting projects—particularly those involving major infrastructure, iconic landmarks, or ecologically sensitive sites—it is essential to actively engage truly professional and accountable experts in the assessment process. During design reviews and project acceptance, careful consideration should be given to expert input, with a view to further elevating the quality and impact of the lighting scheme. Design and construction should be guided by an elite aesthetic sensibility, creating landscape lighting solutions that cater to the tastes and expectations of society’s elite—a reflection of their aesthetic preferences and aspirations. At the same time, for projects that directly affect the general public, it is appropriate, where necessary, to conduct surveys or publicly solicit feedback, ensuring that the lighting outcomes genuinely embody the wishes of ordinary citizens. By using landscape lighting as a platform for open dialogue, we can enable people from all social strata to express their views, thereby fostering overall harmony, broad public consensus, and widespread acclaim throughout the implementation process and in the final outcome.

Characteristics of Landscape Lighting Products That Align with Elite Aesthetics

As previously mentioned, classicism, restraint (subtlety), discipline, a focus on humanity or nature, and inclusiveness are universal characteristics of elite aesthetics. Therefore, landscape lighting products that align with elite aesthetics should at a minimum possess the following attributes:

1. Most projects employ conventional lighting techniques such as projection and wall washing, with minimal use of direct-view lighting systems to avoid light interference caused by such systems.

2. Primarily use white lighting, supplemented by monochromatic lighting, with a very small number of full-color, slow-color-changing systems (where colored light conveys strong emotional expression);

3. Show care for both humanity and nature; promote energy conservation and minimize landscape lighting; use light appropriately; oppose light pollution and the ecological damage it causes.

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Cultural and tourism lighting products should be oriented toward mainstream aesthetic preferences.

Landscape lighting can be regarded as a form of cultural and tourism lighting, with the primary objective of boosting nighttime tourism and consumption; in this broader sense, it falls under the umbrella of cultural and tourism lighting. However, in this paper, “cultural and tourism lighting” refers to a more narrowly defined scope—typically localized, immersive, and scenographic landscape lighting. According to “Lighting Engineering 4.0: Construction and Management Practices,” “cultural and tourism nighttime light shows are staged at tourist destinations such as characteristic towns, theme parks, and scenic areas to enrich visitors’ evening experiences. These productions leverage thematic lighting, light-and-shadow effects, and performing arts to create culturally driven, performance-oriented, and technology-supported spectacles that cultivate distinctive aesthetic experiences of human culture, environment, and space.”

Unlike conventional landscape lighting products, cultural and tourism lighting is primarily aimed at the general consumer. Its purpose is to use lighting to tell a story, capture attention, build brand identity, and stimulate consumption. At its core, cultural and tourism lighting demands that landscape illumination be opulent, diverse, and spectacular—often requiring the seamless integration of light, sound, and electrical systems to create an immersive experience that commands the audience’s full attention and delivers profound aesthetic pleasure. Consequently, such lighting solutions must align with mainstream public tastes in order to maximize economic returns.

Media façade–linked light shows can also be distinctive.

Media façade–linked light shows occupy a middle ground between conventional landscape lighting and cultural-tourism lighting; for instance, the light show in Hangzhou’s Qianjiang New City has significantly boosted tourism, with local authorities striving to develop the area into a 4A-rated scenic spot and leveraging it as a brand-promotion tool. Consequently, media façade–linked light-show products must not only meet the requirements of standard landscape lighting but also incorporate the distinctive features of cultural-tourism lighting. Achieving this dual objective can be accomplished by implementing diverse lighting modes, time-based scheduling, and zone-specific control. On weekdays, the base lighting should primarily highlight the architectural character while also being maintained to ensure consistent lighting performance.

In summary

In summary, standard landscape lighting products are primarily designed for elite audiences, aiming to meet their aesthetic preferences and mitigate negative public perception; cultural and tourism-oriented lighting solutions, by contrast, should cater more to mainstream aesthetic tastes in order to maximize economic returns. As for media façade–integrated light shows, they should employ diverse lighting modes to strike a balance between the needs of both segments.