Tracking Lights | lighting design project

Tr a c k i n g l i g h t s c o n n e c t i n g p e o p l e a n d c o m mu n i t i e s w i t h i n t e r a c t i ve l i g h t

Group 8: Athanasios Samaras, Ana-Maria Nichita, Senja Maarit Ruohonen, Maja Arboe Harild C R E AT I N G W I T H L IG H T MSc. in Lighting Design (LiD 8) // Spring 2021 Supervisor: Kasper Fromberg Støttrup

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contents

Chapter 1

Chapter 2

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PREFACE

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METHODOLOGY

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PRE-ANALYSIS How we chose the space Initial Research Question:

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ANALYSIS: THE CONTEXT 1.1 Geographical context 1.2 History of Railway City 1.3 A walk through 1.4 Urban analysis 1.5 Social analysis 1.6 Sound analysis 1.7 Sub-conclusion

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ANALYSIS: FOCUS AREA 2.1 User analysis 2.2 Spatial analysis 2.3 Lighting analysis 2.4 Problems and opportunities 2.5 Problem statement & success criteria

Chapter 3

39 40 41 4 3 44 47 49 51 52

FRAMEWORK 3.1 State of the art 3.2 Case studies DK 3.3 The Railway City - a new district 3.4 Lighting Master Plan 3.5 Outdoor lighting standards 3.6 Sustainability 3.7 Design inspiration from analysis 3.8 Sub-conclusion

Chapter 4

53 54 56 63 75

DESIGN & TESTING 4.1 Design Concept 4.2 Design experiments 4.3 Final design 4.4 Evaluation

Chapter 5

77 78 79

ROUND-OFF 5.1 Discussion 5.2 Conclusion

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BIBLIOGRAPHY

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“Cultures and climates differ 05 all over the world, but people are the same. They’ll gather in public if you give them a good place to do it.”

“Artists, philosophers, urban planners and architects have been dreaming, writing about and drawing ‘ideal cities’ for hundreds of years...In most of these visions the pedestrian is the measure of ideal urban spaces.”

— Tracy D. Writes, “Pedestrians’ Quality Needs”, European Cooperation in Science and Technology

- Jan Gehl

Preface

Preface • Creating with light

Transit in a post-pandemic future The COVID-19 pandemic has created disruption across the world, fundamentally reshaping life as we knew it and highlighting the interconnectedness between us, beings, and our planet. The impact on our lives, our society and our surroundings will be felt for many years, especially in the way we interact with one another and the way we move through the urban realm.

Movement restrictions to manage the spread of COVID-19 have shifted life closer to home, reviving neighborhoods and local communities (Beyond the curve, ARUP, p.2). With this in mind, we need to design micro mobility such as walking and biking back into our everyday lives, by incentivizing and facilitating such modes of transport in our immediate locality.

Towards a walkable city The past year highlighted more than ever how the city structures and systems have been mostly built and evolved around car usage. But as new modes of city exploration

have been looked into, there has been a growing shift towards integrated multimodal transportation systems, which implies a raise in walking and biking. By going car-free, streets can be holistically designed for pedestrians, usually resulting in safe, vibrant and highly activated public spaces (Towards a walking world, ARUP, p.120). Lighting becomes more and more an integral part of such designs and is carefully thought to enhance the user experience in the developing public realm.

Interactive wayfinding and the dynamic city As technology and sensors become increasingly more affordable and ubiquitous, they can help make cities more walkable and accessible through real-time environmental data, which aids at offering an improved understanding of how places are being used (Cities Alive, ARUP, p.127).

Merging light, sound and image can also be used to invite pedestrians to engage with their surroundings and have fun along their route. Moreover, thanks to new

technologies, new forms of autonomous mobility are on the rise and in the near future may radically change the way we commute and decrease road infrastructure demand (ARUP, p.23).

Urban exploration at night The nocturnal city offers an interesting lens because of the ways in which it tangles the natural and social urban features – of earthiness, routines and rhythms. According to Shaw (2018, p.5), the aesthetics of the night have emerged, contrasting the city as spectacular with the city as spectacle: that is, the urban night as a site of display versus the urban night as a site for exploration (ibid.).

For the past year, as human pursuits and habits extend into the night hours, cities are increasingly experienced in the dark, which provides great opportunity for lighting designers to enhance the urban nightscapes. As a result, focusing on night as means of promoting new ways of living and moving through the city

can improve the urban experience in the post-pandemic world. To overcome issues faced by pedestrians in hours of darkness – such as safety, navigation and visibility – light installations can effectively be used to welcome people in dark public spaces (Cities Alive, ARUP, p.125).

The role of the designer of the urban night Urban lighting is now conceived as a public service with lighting design seen as an ethical issue. The urban lighting designer should play the role of a night-time experience designer who is competent in the three areas of technology, human factors, and design (Cascani, 2020, p.13). Since the human and social value of lighting is hard to estimate, designers draw upon theories, methods, and models from social science, behavioral science and environmental psychology to assess the intangible aspects of the link between people and lighting (Cascani, 2020, p.14).

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Methodology

Preface • Creating with light

Problem-based learning (PBL) Aalborg University has a well-established model, PBL, that is proven to be a great tool in the process of lighting up an outdoor space. This model assumes that students learn best when they tackle an authentic problem by applying theory and knowledge in their work through research and teamwork, which the team is confident in attesting that it was achieved. The PBL principles have been applied throughout the project’s development, where constant cooperation and communication have been the driving force that brought the project to fruition. Despite the challenges and limitations this project displayed due to

the Corona pandemic, the team members have shown resilience and responsibility for their own achievements and steppingstones regarding the project evolution.

Ethnographic research In order to design socially adaptable, public outdoor lighting in a conscious way, ethnographic and social exploration of the space under study was conducted. In particular, insight from applied qualitative methods such as ethnographic observations and interviews of people utilizing The Railway City was gathered. The findings were used to discuss aspects of people’s experience within the City and to reflect on people’s behaviours toward lighting so that a more comprehensive lighting strategy can be further developed.

Digital simulations and renderings Adobe softwares have been used throughout the project (Photoshop, Illustrator, InDesign), in order to best visualize our design intentions and final design. Various lighting design, 3D building and rendering softwares (Blender, TwinMotion, DIALux) have also been used, in order to translate our empirical measurements, simulate the electrical light, obtain light calculations and visualize our design proposals and final concept. In this way, we ensured that we communicate our concept in the clearest visual and pragmatic way, with a proper technical support along the way.

(source: Jernbanebyen.dk, 2021)

The design experiment The design process has been transdisciplinary in its methodology, including knowledge from visual arts and humanities, as well as social studies and natural sciences. This type of approach is well established in Aalborg University in the Lighting Design studies, as it was created for, and has been implemented in the study programme, since it's beginning in 2014. The design model (Hansen, Mullins, 2014) was adapted to follow the lighting design team’s process behind this problem-based project, which is also reflected in the structure of this report. The following chapters therefore expand more on the shared vision for the project, the design criteria developed through experimentation and conceptual discussions, as well as the construction and evaluation of the design in terms of the applied criteria.

Pre-analysis

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09 How we chose the space

Pre-analysis • Creating with light

When we first began our research into a case for this project, we decided to investigate different places through walking. We agreed that walking was an ideal method, as it is a familiar way of navigating through the city; it sets the city in human perspective, guiding our movements naturally and allowing us to easily discover the city.

Fig. 0.1 illustrates various locations around Copenhagen that we visited, both during day and night, in order to identify challenges and opportunities that could provide a good starting point for our study. We included different types of urban spaces, from enclosed nodes to open districts.

In the final stage of our walking journey, we have analyzed our findings and observations and narrowed down our search based on the following criteria. The chosen location had to then present: ...an indisputable problem that could be tackled through lighting; ...the right size of a problem that could be addressed within the timeframe for this project; ...the potential for interactivity and for conducting lighting experiments on-site; ...itself as somewhat well-established, either due to longrooted historical or cultural legacy.

After doing a screening of all options based on the aforementioned criteria, we found The Railway City (Jernbanebyen) between Enghavevej and Vasbygade as most appealing to fulfil it, especially due to the distinct space we had to surpass in order to discover it: an unusually long tunnel. It started with us walking on Enghavevej and getting curious about where the tunnel from Enghavevej led to, so we decided to investigate further. The underpass looked like a weary and decaying tunnel of a train station and something you would normally avoid. However, a walk through the underpass took us to the The Railway City, and what we found on the other side of the railways was a charming and historically interesting community under a huge development, with lots of great potential and creativity – almost like it was its own entity, disconnected from the city and its neighborhoods, and certainly not easy to find

1. Bispeengbuen 2. Nørrebro Runddel St. 3. Yellow fence wall 4. Assitens Kirkegård 5. Urban Oase Park 6. Sankt Hans Torv 7. Old Library garden 8. Islands Brygge Park 9. Ørstad passage 10. Frederiks Brygge Fig. 0.1: Map of Copenhagen showcasing the initial locations we have investigated by walking, as part of our pre-analysis process of scouting for the final case study

11. Railway City 12. Sydhavn Station

PART-CONCLUSION: The Railway City was chosen as our case study because it appeared as a creative, but secluded place with various scalable problems associated with the urban space, which can be addressed with sitespecific interactive lighting.

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11 Initial Research Question:

The choice of space was further inspired by the initial research question that was formulated while searching for a suitable place to create a lighting design project with potential to enhance the space, and further, the city. The initial research question is as follows:

- Susheela Sankaram, Lighting Designer, Amsterdam, 2015

“In order to understand lighting in cities you need to understand the city in general.”

In urban environments, communities are often disconncted from each other, due to extensive road networks. Imagine if you could link these communities and people together with interactive lighting.

Preface • Creating with light

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Analysis: the context In this chapter we will present the context of our site through analysis from geographical, historical and social points of views.

We will walk through the area, and provide analyses on points of interest. The urban elements of the space have been evaluated through the lens of two of the writers who have most influenced lighting designers in these areas of work – urban planner Kevin Lynch and architect and planner Jan Gehl.

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Enghavevej

Fig. 1.1: Aerial view of Copenhagen (source: kortforsyningen.dk)

Vestre fængsel

Analysis: context • Creating with light

The Railway City is centrally located in the southern part of Copenhagen. As the name indicates, it is an old railway site. Historically the site have been a node for the railway traffic in and out of the city and there are still a lot of traces left. It lies in-between very different neighbourhoods; each one with a distinct character and demography. The area is closed off by Enghavevej, Vasbygade and Ingerslevsgade, which means all along The Railway City’s outer borders, lies transportation infrastructure in addition to the railway network cutting through the neighbourhood.

This means The Railway City’s is completely surrounded by roads and railways, and these are, so to speak, it’s closest and only neighbours.

Due to the barrier of the large roads and the massive railway network, it is given that the district is almost entirely physically disconnected from the rest of the city.

It is only linked to the rest of the city by the underpass at Enghavevej and by a road at the opposite end, close to Fisketorvet (fig. 1.2). Both connections are hard to find if you don’t know them or aren’t actively looking for them.

The Railway City is actually placed a bit lower relative to the rest of the city, so the entrance is hidden under ground level from Enghavevej.

The Metro Facilitation Center cuts through the area and covers a larger space and divides The Railway City into two parts; a northern and a southern.

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Fig. 1.3.:Map of The Railway City

1.1 Geographical context

Vasbygade

Street Mekka

Bavnehøj Idrætsanlæg

© Styrelsen for Dataforsyning og Effektivisering

Otto Busses Vej

Ingerslevsgade

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Fisketorvet

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The Railway City North

n tio a t ili

The Railway City South

r nte e C

c Fa o tr Me

H.C Ørstedsværket Frederiks Brygge Enghave Brygge

Geographical Development As seen on fig. 1.4, the area where The Railway City is currently located, was until the end of the 19th century a part of a shallow body of water between Amager and Zealand.

In the period from 1895 until 1901 this area was filled up with earth, and on this new land area, Copenhagens new railway yard was established and this was the start of the development of The Railway City.

Fig. 1.2: Access points to Railway City

© Styrelsen for Dataforsyning og Effektivisering

Ortofoto fra COWI

COWI har den fulde ophavsret til Sommer ortofotos (DDO®land). Det er kun tilladt at tage kopier eller udprinte ortofotos (DDO®land) til dit eget private brug indenfor husstanden, eller hvis din instutuion har købt brugsrettigheder hos COWI. Øvrig kommerciel anvendelse er ikke tilladt og vil kunne retsforfølges.

1842 - 1899

© Styrelsen for Dataforsyning og Effektivisering

Ortofoto fra COWI

COWI har den fulde ophavsret til Sommer ortofotos (DDO®land). Det er kun tilladt at tage kopier eller udprinte ortofotos (DDO®land) til dit eget private brug indenfor husstanden, eller hvis din instutuion har købt brugsrettigheder hos COWI. Øvrig kommerciel anvendelse er ikke tilladt og vil kunne retsforfølges.

1928 - 1940

© Styrelsen for Dataforsyning og Effektivisering

Ortofoto fra COWI

COWI har den fulde ophavsret til Sommer ortofotos (DDO®land). Det er kun tilladt at tage kopier eller udprinte ortofotos (DDO®land) til dit eget private brug indenfor husstanden, eller hvis din instutuion har købt brugsrettigheder hos COWI. Øvrig kommerciel anvendelse er ikke tilladt og vil kunne retsforfølges.

1953 - 1979

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© Styrelsen for Dataforsyning og Effektivisering

Ortofoto fra COWI

COWI har den fulde ophavsret til Sommer ortofotos (DDO®land). Det er kun tilladt at tage kopier eller udprinte ortofotos (DDO®land) til dit eget private brug indenfor husstanden, eller hvis din instutuion har købt brugsrettigheder hos COWI. Øvrig kommerciel anvendelse er ikke tilladt og vil kunne retsforfølges.

1980 - 2001

Fig. 1.4.: Historical maps (source: kortforsyningen.dk)

SUMMARY: The industrial district of The Railway City was taking form in late 19th century, and is almost entirely physically disconnected from the rest of the city because of the surrounding railways, as well as the large road infrastructure on all sides.

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15 DSB (Danish State Railways) open their new central workshop

DSB outsource railway freight transports

Otto Busses Vej is named after Otto Busse, a DSB manager

Jernbanebyen (The Railway City) becomes the areas official name

Architectural competition commences with bids to develop the area

Freight railway station is modernized

New freight railway station is built

1901

The Yellow Town is built

1910

WWII breaks out. Area around the Central Workshop is refurbished for allotments

1939

Unused railway buildings are sublet

Oehlenschlægersgades School temporarily moves into The Railway City. Expected to remain until 2021

Office communes, entrepeneurs and creative workshops moves in 1944

Food market opens

CPH Village (student housing) is established

1959

1.2 Histor y of Railway City

Analysis: context • Creating with light

The Railway City, historically, is a very interesting space.

And it has gone thorugh many changes in the last century (fig. 1.5). When the central workshop opened in 1909 it consisted of different workshops, each with their own function. All of it powered by a power station in the middle.

All the workshops were mutually connected by more than 10 km of railways. All the buildings built up until 1922 were drawn by the architect H.E.C Wench, who also drew the Copenhagen Central Station and Østerport Station. He was the chief architect of DSB (Danish State Railways) and therefore his architectural style is prominent all over the area.

Physically the area presents as a self-sufficient unit. In this unit there is also a small ”town” of small yellow terraced houses. The Yellow town, as the housing area is called, was built in 1910. It consists of around 30 housings for the employees of DSB´s workshops. It was for the employees that had to be on standby 24-7 to move to train accidents etc..

The histories of the individual buildings and surroundings contributes to a larger narration of a modern industrial area. In 2009 the unused railway buildings were sublet and offices and creative workshops moved in. As an example the old Locomotive workshop is transformed into housing large events and conferences. The old wood storage depot as well, has been transformed into an eco village with food

2000

2010

Fig. 1.5: Historical timeline (source: Jernbanebyen.dk, 2021)

courts, cafes and shops under the name Banegaarden (old railway station).

The area got its official name Jernbanebyen (The Railway City) in 2019, and in 2020 CPH Village, a student housing, was built.

In the coming years, the entire DSB’s old workshop area will be transformed and repurposed as a new district as a part of The Railway City.

So there’s a deep rooted cultural heritage in the area. The entire area is built up around the railways and refers and relates to its historical heritage as a core element of past and future developments. (source: Jernbanebyen.dk, 2021).

SUMMARY: There is a deep-rooted cultural heritage in the area, built around its historical heritage related to the railways.

2020

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fig. 1.6: photos and audio documentation from every stop along our walk through

1.3 A walk through

Analysis: context • Creating with light

To add on to the previous analysis, the project team conducted a long and well documented walk through the city, including documentation in the form of photos, written observations, and sound recordings (fig. 1.6 and 1.7). This was done to define the atmosphere of The Railway City, or in other words; find its essence. The walk took place in March 2021 during daytime on partly cloudy weather. Special attention was given both to the visual landscape and to the acoustic environment.

The southern edge of The Railway City is bordered by a metro park. The road on this southern side has no explicit landmarks, making it difficult to remember that the location is quite central Copenhagen. Even the noise from rest of Copenhagen does not carry this far. The soundscape is very silent and peculiar, with the occasional distant sounds of metro, and quiet industrial humming of machinery from the nearby buildings. The skyline is very low, as there are no high buildings, and the sky is visually dominant. The atmosphere is a mixture of industrial, yet peaceful.

The road that leads past the CPH Village dorm, the old wood storage and the school, has a livelier atmosphere with plenty of details, yet the soundscape is still tranquil.

There are no train tracks in sight from this road, but the train theme lives strong within the old wooden storage building following the road. The visual environment is rustic and crafty, with different styles of buildings from different eras. The road is highly used by the people living in the dorm. When society recovers from the pandemic, the road would also be used by young students that go to school in the area.

The atmosphere changes drastically when

fig. 1.7: Map indicating the stops made along our daytime journey, where photo and audio documentations have been registered

transitioning through the tunnel. The entrance to the tunnel is untidy and worn, and the tunnel itself is very uniform in style and somewhat unpleasant with the buttonshaped downlights and plenty of graffiti. The main change during the transition inside the tunnel happens with the soundscape. The tunnel is very echoing, and the echoes multiply when approaching the busy Enghavevej due to higher traffic levels. On Enghavevej side the tunnel ends to a wall with some graffiti and narrow exits to the sides.

A part of the tunnel starting from Enghavevej is slightly more spacious than the rest of the tunnel, with its square shape. Yet still the entrance feels very tight, as it is heavily used by cyclists, and they take a lot of space when turning. Ascending to the street in Enghavevej doesn’t bring much comfort, as it is quite noisy and this side of the street doesn’t have more elements than a rugged fence separating the train tracks from the street. All in all, the entrance is quite uninviting.

SUMMARY: There is a unique and peaceful atmosphere in The Railway City, especially regarding the tranquil soundscape and low skyline. But this atmosphere does not carry into and through the tunnel. It is rather difficult to spot the entrance to the city from Enghavevej side, as there are no inclinations to what might await on the other side.

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19 1 . 4 Ur b a n a n a l y s i s The emphasis of this analysis lies on studying the physical qualities of the city, which relate to the attributes of city identity and structure – which Lynch calls imageability (legibility or visibility) – the quality in a physical object that can evoke a strong image in any given observer.

According to Lynch, a legible city allows for an easy identification of its main elements and for efficient navigation and wayfinding (fig. 1.9). A large amount his work referred to light as a prominent form shaper, as one of light’s main qualities is to reveal the environment and to orient people by shaping the physical surroundings.

However, his theories have been conducted and tested during the day when all elements of the city are fully visible. Besides, at night, only a few elements can be lit by artificial means, providing a different appearance than the one defined by the sun and the sky (Cascani, 2020, p.29) - which is applicable for our case study and resulted in its urban elements interchanging functions between daytime and nighttime, as seen in the analysis below.

To find the potential value of the urban elements of the city, (landmarks, edges, paths, nodes and districts), we used theories of Kevin Lynch to decode the image of the city. Inspiration was drawn both from literature and onsite urban investigation, during daytime and nighttime.

The field observation that led to this analysis was done on foot; we explored the area, with focus on the presence, visibility and the interrelations among the city elements and noting the strengths and weaknesses of these elements. Certain features (fx. main roads, open spaces, districts, sense of motion on the paths, visual contrasts) seemed to be of particular importance for the given cityscape, as displayed in fig. 1.8.

movement/network

Analysis: context

green spaces

• Creating with light

Fig. 1.8: layers of the city

train tracks

The Railway City

Enghavevej Ingerslevsgade Fig. 1.9: Diagram representing the major visual elements as derived from the field observations

built heritage and key areas

Otto Busses Vej

Vasbygade

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Old locomotive workshop

Old railway station

Analysis: context

Railways

• Creating with light

Figures in the margin denotes areas from fig. 1.9

Landmarks The spirit of The Railway City and one of the most recognizable landmark structures of the area lays at its epicenter, where the old locomotive workshop can be found, sheltered within tall metal fence. The access from its North side seems to be obstructed, as it is private DSB property, while the South side provides easy access to the old workshop, now an event venue.

When moving to the South-West side, the City opens up to some peculiar wooden buildings, also identifiable as City landmarks, that surround an almost hidden courtyard – these buildings constitute the old railway station, now turned into a café, farmers’ market and a little cultural venue, nearly always crowded as we walked through.

Thus, both the old locomotive workshop and railway station appear as introvert, turned in upon themselves, with little direct communication to the City around them.

This makes them hard to be acknowledged or connected to other people than City dwellers, as they are not easy to reach. However, their strength as landmark seems to derive from this contrast felt between their historical and cultural status and their physical invisibility.

Edges The most reinforced element of The Railway City that serves as an edge are the train tracks – the surrounding railway system starts along Ingerslevsgade in the NorthEast side, where the railways and parts of the City are in eye-level height and somewhat easy to grasp visually for pedestrians.

However, as you go around on Ingerslevsgade and towards Enghavevej, the height of the railway system increases. From here looking inwards, The Railway City can receive less perceptual attention in terms of ground surfaces, buildings and nearby facades, as they disappear below eye-level, behind the train tracks. Also, the railways as edges are not entirely visible from inside the City either, which makes it hard for the observer to orientate or to be aware of an “inside-outside” perception.

Moreover, as landmarks are not necessarily only large objects, but they can vary in scale, the train track element in itself can also be considered a landmark, as its symbolism can be found in most corners of the City.

Path Normally, a city is structured by an organized set of paths that are characterized by directional differentiation.

However, The Railway City is an ambiguous and generally confusing joining of major streets, such as Enghavevej, Otto Busses Vej and Vasbygade. On the east side, the junction of Otto Busses Vej and Vasbygade appears as discreet but somewhat clear. On the opposite side, Enghavevej path appears similar to Vasbygade, as akin traffic and human movement is taking place here. Geographically but also atmospherically, both of these major roads are felt to be as “outside” The Railway City, hardly relating to it, even though they are enclosing the City.

Otto Busses Vej, however, is clearly related to The Railway City. When moving inwards, The Railway City is enclosed by the Otto Busses Vej road ring, which surrounds the old train workshop and other later built constructions, as introduced before. Along this road, there are old, historical places, full of worn-out buildings, yet containing some new structures among the old, like the student dormitory in the south-west and the elementary school. In this area, the path structure is a rather difficult one, with the roads changing from smooth and concrete to muddy and rocky, due to the on-going construction on this site.

When it comes to the tunnel, there is a discrepancy in the way it is perceived during the day and night.

Although its walls are heavily textured, sometimes covered in condensation and filled with old and new graffiti – therefore visible, it can easily go unnoticed in the journey people take during daytime. Softening or decreasing the visibility of all these inner façade elements at night, the character of the tunnel is only emphasized by the closely displayed luminaires, which turns the tunnel into a landmark as well.

Node The Enghavevej entrance to the tunnel can appear as a simple perpendicular joint or node but, due to its lowered height, fails to communicate its structure and can be overlooked by the people passing by. Although visible from afar, this entrance is neither remarkable nor easy to remember; also, due to the entrance being so closely connected to Enghavevej pedestrian path, it did not seem like an appropriate place to wait or meet people.

Enghavevej

Otto Busses Vej

Tunnel

node (entrance to tunnel) at Enghavevej

node (entrance to tunnel) at Otto Busses Vej

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23 Once you travel through the tunnel and reach Otto Busses Vej inside The Railway City, another perceptual problem is being raised, as the tunnel path branches to make alternate paths - towards the main districts and buildings - that are poorly signalized and not intuitive to follow. Unlike the other entrance described above, the pedestrians are those popularly associated with this square – we have observed different patterns of behavior and transition exerted by people (fx. walking their dogs, sitting on a bench nearby and chatting, delivering food on bikes, running, walking together, etc.).

Yellow Town

CPH Village

Districs The Yellow Town appeared, visually, as the core of the image of the city, due to its yellow-brick buildings that appear as you approach the square and Otto Busses Vej. Another interesting district can be found further south on Otto Busses Vej, around 5 minutes away from the Yellow Town: the lively CPH Village student dorm. Built in a way that keeps the visual connection to the surrounding area, the dorm space is of substantial size and, although still under development, can be considered a landmark as well.

Analysis: context

SUMMARY: Our urban analysis opened up for a new vision for The Railway City to become a highly imageable city (legible and visible), that would invite not only its dwellers, but also other people to explore it. Although interchangeable, the urban elements analyzed here showed that they operate together in a context, and it would be interesting to study the characteristics of various pairings, like path-node. As such, greater attention could be given to the tunnel, as a transitional path between The Railway City and the neighborhoods around.

• Creating with light

Figures in the margin denotes areas from fig. 1.9

1.5 Social analysis On our long walks around the city, we not only observed these stationary physical parts of the city and its urban layers, but also paid attention to its moving elements along the way, in particular the people and their activities.

Jan Gehl displays a great sociological imagination when it comes to studying the built environment, which we found relevant for this point in the process. Drawing inspiration from his book on “Life between Buildings” (2011), we investigated the types of movement that people were displaying around the City, as well as the way they were spending their time within the City (fig.1.10).

According to Gehl, people and human activities attract other people; they move about with others and they seek to place themselves near others (p.23). Our observations showed that most social gatherings were realized in the vicinity of the CPH Village dorm, as well as in the old railway station (Baanegarden), because of the number of local stores and amenities of high interest for the students, locals and people passing by.

A high number of people has been observed in the Yellow Town as well, primarily dwellers on a walk with their dogs or commuting from one household to another.

Outside of the City, on Enghavevej side, the number of people stationing or temporarily gathering was observed to be rather low, as the path on Enghavevej doesn’t support this behavior. The tunnel, although a physical link between the communities outside and inside of the City, appeared as a disengaging tool between the two, working as a purely functional device of taking people from one place to another.

Fig. 1.10: Illustration of people’s activities and the respective place they were conducted in (not statistical, just for visual representation purposes)

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25 Yellow Town participant insights: Kirsten, elderly woman

dwellers of Yellow Town

students from CPH Village

colour

“It’s grey in all kinds of different gray colours (…) There’s only gray in gray. It’s depressing. It’s really depressing. During the wintertime, you only see gray, gray, gray, gray, and it’s popping up here and there and everywhere. (…) You don’t have any colours to look at”

visibility

“And there was a restaurant at Fisketorvet which was called The view.

There is no view. And that’s why they should have kept it low (…) I don’t understand why all the buildings have to be like matchboxes”

cyclist CPH Village participant insights: Magnus (29), Ida (26), Julie (26)

workers in Railway City

visitors

After conducting the above-mentioned unobtrusive observations inside and outside of The Railway City, we selected three user groups to conduct ethnographic research on and conclude our social analysis.

Two ethnographic interviews have first been conducted: one with an elderly woman who lives in the Yellow Town and the second one with a group of three young adults that work in the office of the CPH Village dorm.

Analysis: context

“... but this is a very special area. Because there are no other places in Denmark where the workers live, where they work. Well, the priests, but for workers, there’s no other places. So, this is very unique.”

(Kirsten, elderly woman)

•

“I just feel like the experience, just standing here or going this way (pointing towards Fisketorvet) is very different than the other side of the school over there, with the yellow houses. It feels safe and much more attractive than the other road.”

(Magnus, 29)

Creating with light

The first interviewee, an elderly woman that lives in the Yellow Town together with her husband, talked about the local history and how close their community is. The second sample group were young office runners at CPH Village, who described The Railway City as something

school children

Fig. 1.11: Classification of users according to the activities and movement noticed under unobtrusive observation

confusing wayfinding

confusing wayfinding

“You go in and it is like you don’t know what’s in here, in this area going into the tunnel and then it opens up.”

“The first time that I went in the tunnel it was during the summer during the day. So, I couldn’t see any of the lights and I was definitely confused about where is it. You can’t really notice it because it’s only the crossing you see.”

“I’ve seen some visual interest) funny graffiti down there (…). Three times in one week someone painted something like, “Corona doesn’t exist”. Then it was painted over like the next day and then it came back like 3 times.” visual interest “I actually think it’s pretty cool. And also, like a leftover of Copenhagen history, because we used to have a lot of those tunnels.

It is a little bit romantic to be in one of these because there are not many left.”

openness

storytelling

“we are proud of our skyline. (…) We just want to keep it down here and have a free air and be able to look at sky and have the sundown” “I was laughing once, because it was kind of cute. The whole way of the tunnel, there was lipstick kisses.”

Fig. 1.12: quotes from etnographical interviews

26

27 1.6 Sound analysis

Analysis: context

they didn’t know existed before coming to work there.

When asked about their first experience in the City, they remembered how confused they were trying to find it. They naturally moved the conversation towards the tunnel and how they found it interesting and even slightly romantic at times. Each of the interview lasted for around 30 minutes and focused on grand- and mini-tours regarding the subjects’ transportation means, atmosphere, safety and visibility through the City. Regarding the procedure followed, we did not disclose what line of study we are in until the last part of the interviews, in order to not limit the discussion to the topic of lighting. Eventually, the two conversations switched more towards lighting problems and opportunities within the City.

In addition, apart from interviews conducted inside on The Railway City with the two user groups, people passing by on Enghavevej have also been interviewed, in order to gather insight into whether people are aware of the City beyond the tunnel. The interviewer was standing on the pedestrian walk, across from the tunnel entrance and approached pedestrians and asked four questions (‘Where do you think this tunnel leads to?’, ‘How do you feel about this entrance?’, ‘Have you even noticed the Jernbanebyen sign at the top of the biking ramp?’, ‘Where are you walking to and from?’). A total of 7 people has been sharing their thoughts on this and it was concluded that the tunnel goes “unnoticed”, it is perceived as “sketchy” and “poorly signaled”. Only 2 out of the 7 people interviewed have been through the tunnel before, although living the area.

Typical sound events in the area originates from passing cars and trains (fig. 1.13). As the surrounding roads are heavily trafficked, the noise from cars is static, and trains pass in intervals making the noise cyclic. Worth noting is that train horns can reach >100 dB (railroads.dot.gov) The noise from Vasbygade and parts of Ingerslevsgade reach levels in excess of 75 dB and noise from trains should not exceed 69 dB (Miljøstyrelsen, 2007). When sound levels increase 10 dB it is equivalent to a 10-fold increase in sound intensity. This will feel like a doubling in loudness (IEEE Standard 100, 2000).

Based on our own observations, the noise inside the underpass can be intense when a train is passing by – this is further enhanced by the echo chamber effect. Train noise is in general not as bothersome as road noise, due to the nonconstant noise (Miljøstyrelsen, 2007). In addition to traffic noise, there is a lot of different sounds and noise from all the workshop and the Metro Facilitation Center.

Signaturforklaring

larger roads

larger railways

Større jernbaner, 1,5m

larger railways & roads

Signaturforklaring Veje i by, 1,5m

>75 dB75 dB Signaturforklaring Signaturforklaring over Veje i by, 1,5m Større jernbaner, 1,5m © Styrelsen for Dataforsyning og Effektivisering © Styrelsen for Dataforsyning og Effektivisering © Styrelsen for Dataforsyning og Effektivisering 70-75 dBdB 70-75 Fig. 1.13: Noise map from 2017. Mapping of noise load of people, as well as the ethnographic research done within 65-70 dB 65-70dB originating from the largest railways and roads, measured The Railway City, showed that there is a strong sense of 60-65 dB DDO®land). Det societal er kun tilladt at tage kopier eller udprinte ortofotos (DDO®land) til dit eget private brug indenfor husstanden, 60-65 dB at 1,5 meters. Average noise load marked with colour codes. disconnection created by the alienation of the 55-60 dB COWI. Øvrig kommerciel anvendelse er ikke tilladt og vil kunne retsforfølges.

55-60 dB (source: Miljøstyrelsen) City community from the surrounding neighborhoods,

ektivisering SUMMARY: Unobtrusive observations on the movement

Ortofoto fra COWI

Ortofoto fra COWI

over 75 dB 70-75 dB Ortofoto fra COWI 65-70dB

over 75 dB 65-70dB

COWI ophavsret COWI har den fulde ophavsret til Sommer ortofotos (DDO®land). Det er kun tilladt at tage COWI kopier har den ellerfulde udprinte ophavsret ortofotos til Sommer (DDO®land) ortofotos til dit (DDO®land). eget private brug Det er indenfor kun tilladt husstanden, at tage k har den fulde 60-65 dB til Sommer ortofotos (DDO®land). Det er kun tilladt at tage kopier eller udprinte ortofotos (DDO®land) til dit eget private brug indenfor husstanden, eller hvis dintilladt instutuion brugsrettigheder hos COWI. Øvrig kommerciel anvendelse er ikke tilladt og vil kunne retsforfølges. eller hvis din instutuion har købt brugsrettigheder hos COWI. Øvrig kommerciel anvendelse eller hvis er ikke dintilladt instutuion og vilhar kunne købtretsforfølges. brugsrettigheder hos COWI. Øvrig kommerciel anvendelse er ikke og vilhar kunne 55-60 dBkøbtretsforfølges.

55-60 dB

•

fueled by the confusing wayfinding, lack of visual interest, storytelling and visibility towards the tunnel, respectively the City.

Creating with light

SUMMARY: The area is subject to significant am ount of traffick noise, both static and cyclic. The area is secluded from the rest of the city and the soundscape will differ from most neighbourhoods in the city due to the large transportational infrastructure, both as an outer barrier and as a part of the interior of the area.

over 75 dB 70-75 dB 65-70dB 60-65 dB 55-60 dB over 75 dB 70-75 dB 65-70dB 60-65 dB 55-60 dB

28

29 1.7 Sub-conclusion On the district analysis of The Railway City we have identified three key themes, that seem to permeate the essence of the area, and are brought up independently of the observer.

1) the historical heritage and identity regarding the railways 2) the hidden location squeezed between the infrastructural network and suboptimal wayfinding 3) the exceptional soundscape of the area

Analysis: context •

2

Analysis: focus area It was a reoccurring theme in the context analysis, how the area is detached from the surroundings, and had a lack of clear wayfinding.

As an integral node for connecting The Railway City to the rest of the city, we saw that that our vision concerning the linking of communities finds itself within the railway underpass: the tunnel and its entrances.

Creating with light

30

31 After having defined the focus area, a thorough analysis of the users, the space and the lighting conditions were conducted. The focus area consists of the underpass leading to The Railway City from Enghavevej and the entrances of this underpass (fig. 2.1). In this chapter there will be a zoomed in analysis of the users, space, and lighting of this chosen focus area.

After understanding the city, its community and related needs during day and night, the report switches its focus towards understanding the city’s current lighting implementation, as well as the atmosphere in the dark hours. The summary of the problems and related opportunities have then been formulated, based on prior analysis and numerous on-site investigations.

Notes on timelapse Enghavevej (fig. 2.3) •

•

Fig 2.1: Illustration of the focus area of the study: the tunnel to The Railway City and its entrances

•

•

2 . 1 Us e r a n a l y s i s To define the users of the area, unobtrusive observations were made at the tunnel entrances. As such, two timelapse videos were taken at each of the entrances to the tunnel, during transitional hour, where analysis has been done by investigating the flow of people moving through and away from the tunnel, as well as the use of the roads on Otto Busses Vej node fig. 2.3, fig: 2.4.

•

•

Large number of people passing by the entrance to the tunnel, on the pedestrian walkway Large crowds of people walking in and out of the tunnel whilst still light outside A large number of people biking in and out of the tunnel throughout the entire time A large number of people biking from the tunnel encountered difficulties going around the metal poles, at the bottom of the bike ramp A small number of people using the stairs, partly due to the camera being mounted at the top of them Absence of people recorded on either direction after dark

Notes on timelapse Otto Busses Vej (fig.2.4) •

•

• •

• •

Large number of people coming from the tunnel looking confused about where the square leads to Large number of people walking on the

café road that leads to the student dorm, old train station and school (fig. 2.2) Large number of people particularly biking and running towards the locomotive road One food delivery person biking from the tunnel onto the dirt road, turning and pacing around until finally going on the café road No people recorded to go towards the Yellow Town throughout the entire time Absence of people recorded on either direction after dark

Fig 2.2: Extract of quantitative data notes, illustrating the use of the roads on Otto Busses Vej

Analysis: focus area

Fig. 2.4: Still images extracted from timelapse video on the Otto Busses Vej entrance

• Creating with light

Fig. 2.3: Still images extracted from timelapse video on the Enghavevej entrance

SUMMARY: The qualitative and quantitative analyses helped to narrow down our focus to the root of the problem, when it comes to imagining The Railway City as a more interconnected neighborhood – the tunnel. The low imageability of this City investigated in this chapter through unobtrusive observations was reflected in the image held by the City’s visitors and was manifested through their poor orientation and their significant disappearance in the dark hours.

32

33 2.2 Spatial analysis

Analysis: focus area • Creating with light

9,8

15

2,2

11,7

2,2

25,3

92,3

2,2

23,9

5,7M

Otto Busses Vej

4,74

3,9M

3,15

1,7M

Otto Busses Vej

2,5

d

2,5

3,5

2,2

2m

a

c

31,6

b

Enghavevej

Measurements and observations When approaching the tunnel from Enghavevej, it is hard to notice the entrance (fig. 2.5, a). It is incorporated in the environment quite well and it is hard to notice it. A good example of it, is the sign that is supposed to show you the way to Otto Busses Vej, is hidden behind the fence and layers of graffiti (fig. 2.6). Another reason why tunnel is not discoverable easily is that it is placed 2 meters under the street level, so it is easy to miss (fig. 2.8). There are two entry points, a staircase facing South, meant to be used by pedestrians and a ramp facing North, meant to provide access to bicycles. The shape of the opening is square, which creates a feeling of openness, and it lasts for the first 15 meters of the tunnel. After that, the structure becomes an arch type that creates the feeling of tightness (fig. 2.5, b). There are also 5 “skylight” openings placed 12 meters apart from each other; only one of them is open to daylight though, the rest being shut since they are under the train tracks. The overall length of the tunnel is 92 meters, the width is 3,5 meters and the height is 2,5 meters in the tunnel and 3,5 meters under the skylight openings.

It takes approximately 1 minute to walk and 30 seconds to bike through the tunnel. When going through the tunnel and reaching the Otto Busses Vej node, one is presented with 4 different path options (fig. 2.5, d). When changing direction and traveling from Otto Busses Vej to Enghavej (fig. 2.5, c), the tunnel feels smaller, until one is met with the square part (fig. 2.5, e). Also, the path ends to a plain white wall which might confuse some users about their exit options (fig. 2.7).

Measurements: tunnel

Enghavevej

As the focus has been narrowed down to the tunnel and its entrances, a detailed spatial analysis has been developed here, in order to understand the configuration of the space, collect quantitative measurements and further create accurate 3D visualizations of the space under study. The main tool used for the spatial analysis was field observations, where the team spent time taking measurements and experiencing the space. The findings are highlighted in the following section and illustrated in fig. 2.5.

e

1:100 and a section with distance measurements Fig. 2.5: Floor plan

Fig. 2.6 Sign hidden behind the graffiti and in the fence

Fig. 2.7: Lack of directionality upon exit towards Enghavevej

SUMMARY: Spatial measurements and observations show that there are issues associated with the visibility of the entrances to the tunnel, as well as the discoverability of the tunnel because of the poor signaling.

Fig. 2.8: The entrance is hidden 2 meters under the road level

34

35 Through our lighting analysis, we took measurements within the tunnel and in the 2 nodes connected to the tunnel, both during the day and night and ultimately identified the key problems with it. The analysis consists of both quantitative and qualitative measurements and observations.

Analysis: focus area

Lighting measurements It was decided that the measuring will be split in 3 areas, the Enghavevej entrance, the tunnel and lastly the Otto Busses Vej entrance (fig. 2.9). The first action of the lighting analysis was to take measurements on the entrance on Enghavevej. The values vary from 0 to 9 lux on the bicycle path and staircase, during dark hours, which was not surprising considering that there are no dedicated lights for it, and it is lit by the surrounding streetlights. Moving to the tunnel, there was a steady 30 lux value all the way through. There are ceiling lights placed every 2 meters, so the light in the tunnel is quite uniform. Furthermore, the walls in the tunnel have a reflectance of 48% and the floor has 13%. The last area of measurements was the most surprising one. On Otto Busses Vej entrance, it was quickly noticed that street luminaires with different light properties were placed together.

After taking measurements, it turned out that 4 different types of luminaries were lighting it up. One type - the only fluorescent - was emitting a colour temperature of 3900 Kelvin, the second was emitting 3800 Kelvin, the third one was much colder that 4900 Kelvin and the last one a much warmer one at 3000 Kelvin. The lux values varied from 7 to 25.

Due to the lack of access for borrowing equipment during the pandemic closure, we had to measure the colour temperature of the luminaries through a phone, using the app called “Color Temp Meter”, so the measurements may not be completely accurate.

• Creating with light

SUMMARY: The Enghavevej entrance is barely lit, since the only light it receives in the night is spill light from the surrounding street poles. Inside the tunnel, there is 30 lux strict, all around the tunnel and fixtures are placed every two meters. There is no coherence throughout the lighting on the focus area, and it appears that its goal is strictly functional. The lux values on the Otto Busses Vej entrance varies from 7 to 25.

Day vs. night To finish the chapter of the current lighting analysis, some conclusions on the difference between daytime and nighttime lighting scenarios are made. In addition to the disappearing daylight, the most notable change in lighting is, that during daylight hours the tunnel is very dark compared to the surroundings, and during dark hours the tunnel becomes very bright compared to the surroundings.

This results in increasing visual dominance of the tunnel in the dark hours, and the accompanying effects this change brings within.

One of the practical implementations that accompany this change in brightness-ratio, is the effect on the dark adaptation of human eyes. Having the ability to perceive details in a dimly lit space after entering from daylight takes several minutes, and full darkness adaptation can take up to 30 minutes. (Tregenza, Loe, p.38). It is difficult to measure exactly, how long time exactly it takes to adapt to the darkness in the case of this study, but it can be presumed that it takes more than the one minute that is spent in the commute. A general experience of the project team when entering the tunnel during daylight hours is, that it is rather dark, and it is difficult to perceive details. Adapting to brighter environments is not an issue, since it takes only few seconds for human eyes to adapt to brightness (Tregenza, Loe, p.38). Vice versa, when exiting the tunnel in dark time, the surrounding environments seem very dark for some time before the eyes adapt to darkness again.

bicycle path Enghavevej 9lx 3lx

#4 30 lx

#1

#2

#1

#1

#1

13 lx

22lx 23lx 7 lx 12lx 15lx #3

#3 25lx

#2

reflectance inside the tunnel: wall: 48% floor: 13%

#1

Fig. 2.9: Overview of horizontal illuminance measurements inside and outside the tunnel

#2

DAYLIGHT

DARK

#3

#4

Fig.2.10: drawings of luminares

2.3 Lighting analysis

sky and exteriors

<---

visual dominance

--->

the tunnel

dark and cave-like

<---

atmosphere

--->

bright and exposed

entering the tunnel

<---

dark adaptation

--->

exiting the tunnel

Fig. 2.11. Illustrations of the change in visual significance of the tunnel between daytime and nighttime. In dark hours, the tunnel becomes visually dominant due to the high luminance compared to the surroundings.

36

37 nighttime UNSAFE​ dark bike ramp, --> restricted visibility/view,​​ no light at the entrances

Fig. 2.12: Comparison photos illustrating the visual difference between daytime and nighttime lighting in the tunnel area.

Analysis: focus area •

Another matter of interest in the comparison between day versus night observations, is how well the end of the tunnel can be perceived. During the day, commuters can observe the bright end of the tunnel for the entire journey, whereas in the nighttime, in the end of the tunnel there is only darkness. This brings a feeling of discomfort that could be explained by the fact, that people are simply afraid of darkness and unknown (Lam, 56.).

A third issue that is linked to the matter of perception of the surroundings, has to do with the feelings of being either hidden or exposed. During daytime, being in the tunnel feels like hiding in the darkness. It is easy to perceive the bright surroundings outside the tunnel, but people outside have trouble seeing people inside. During nighttime, being in the tunnel gives a feeling of being exposed. Everyone inside and outside the tunnel can see people inside the tunnel clearly, but it is difficult to perceive whom might be outside in the darkness. It is a controversial topic whether one of these is clearly better than the other and would require further research.

Creating with light

SUMMARY: The main change in the lighting of the tunnel area between daylight and dark hours is the change in the visual hierarchy of the elements, and the effects that follow this change. As the tunnel becomes the most dominant visual element during nighttime, it influences the atmosphere, dark adaptation and visibility.

DISCONNECTION​​ restricted accessibility

-->

VISIBILITY ​ add more light, ​ add light reflective surfaces

TRANSITION ​ link communities and people together with interactive light

HIDDEN ​ dark and uninviting entrances

LACK OF IDENTITY --> the passages seems forgotten in terms developing lighting and design

-->

DISCOVERABILITY​ use the passage as a landmark for the community

HISTORY AND CULTURE​ use the history and culture of Railway City to give identity​

NO WAYFINDING​ hard to navigate to and from the tunnel and beyond

-->

WAYFINDING ​ use light to guide people along their way

2.4 Problems and opportunities Based on our analysis we have identified various challenges and thought of solutions for each of these.

The Railway City lacks cohesion and relation to the rest of the city, it both feels, and physically is, DISCONNECTED from the rest of the city. We hope by improving the TRANSITION between the neighbourhoods with interactive light, we can bind the city together. Note that this disconnection is emphasized by the entrance to the tunnel being quite HIDDEN and uninviting, due to the low-laying entrance and the orientation. Therefore, we want to make it easier to discover, by making the tunnel a LANDMARK for the community and for visitors.

We also found it UNSAFE due to the dark bike-ramp leading to the tunnel and restricted visibility around the corners. For this, it would make sense to simply add more light and reflective or bright surfaces, and by adding interactivity, that keeps pedestrians engaged and alert while in transition, we can enhance the SAFETY. Another tunnel issue is the blandness and a LACK OF IDENTITY, and since this area has a rich history and a creative culture, it would only be natural to implement this in the design of the tunnel and to strengthen the IDENTITY, both the tunnel and The Railway City as a whole.

We observed issues with WAYFINDING and it is not very intuitive were you should go after exiting the tunnel in The Railway City. We want to use wayfinding with light as a tool to guide people in the right directions.

Fig. 2.13: problems (white) and possible solutions (grey)

daytime

38

39 2. 5 Problem st atement & su c cess c r iter i a Problem statement:

How c ou l d l ig ht ing e n hance t he tr an siti on, b e t we e n E ng have ve j and T he R ai lw ay Cit y, for p e de st r i ans and ma ke it more d i s c over abl e w h i l e promot ing t he h istori c a l h erit ag e?

Success design critia The analysis has led us to three success design criteria which should be kept in mind, in order to create a design that satisfies the needs of the users and the site. The first criterion is the enhancement of the transition between the two neighborhoods of the entrances through an intelligent lighting environment. The second criterion is the promotion of the strong historic value and culture of The Railway City. The design should make the city the protagonist of its story, in order to achieve this goal. The third criterion is improvement of the tunnel’s discoverability. The current situation, as described before, does not make the tunnel an attractive destination and, even local residents, do not know of its existence.

By improving the discoverability of the tunnel and creating- essentially- a landmark, will provide people with an opportunity to explore the forgotten Railway City.

Analysis: focus area

#1

#2

#3

• Creating with light

TRANSITION --> ENHANCE THE TUNNEL AS A LINK

HISTORY/ CULTURE --> IDENTITY

DISCOVERABILITY --> LANDMARK

3

Framework On this chapter the framework for our design will be presented.

The following subchapters will present other lighting projects - interactive and tunnels-, the rebuilding of all of The Railway City's area, outdoor lighting standards, reflection on the lighting masterplan analysis, comments on sustainability and inspiration gathered from the site analysis. These are integral parts of the final design, presenting the importance of the context.

40

41 3.1 State of the art One of the first steps that were made when the analysis was concluded, was to research projects in order to examine how they executed the element of interactivity. The idea of making the interactivity related to sound was a byproduct of our analysis of the area, but also the main one. Another type of interactivity that was considered was movement.

From this research they were three projects that were the most suitable and stood out.

Lightweave by FUTUREFORMS (fig. 3.1) Lightweave was the most relevant and inspirational project of this research. It is placed on a tunnel, with a railway passing over it and it uses sound as its trigger to interactivity. After a sound analysis, FUTUREFORMS concluded that the typical sound events in the specific area range between 50dB to 100dB. The weaves of light translate these events to dynamic auroras of patterned LED light, creating an ambient and interactive urban experience.

Sensors, that feed information to a computer, are placed in various points of the location which means that multiple sounds will create visually dynamic overlaps.

F r a m e w o r k

Voice Array by Rafael Lozano-Hemmer (fig. 3.2) Voice Array is an art installation was showcased at the artist's fourth solo show at the Bitforms gallery in New York.

The users of this piece are record their message and then it travels in the form of a light created waveform across the track while it is being combined with the messages of the users before. The element that was deemed as interesting was the translation of sound into waveforms created by indirect light.

• Creating with light

Walk the Light by Cinimod Studio (fig. 3.3) Walk the Light is an installation at the Victoria & Albert Museum that tracks movement and changes the colour of the ambient lighting as the user walks thought it. All the main parts of this installation are on the track that is placed on the ceiling, combining different technologies. A thermal camera tracks the users and LED lighting are mounted on the moving monorail in create this effect. The research team found the most interesting part of this installation to be the traces users leave behind them as they cross this tunnel.

Fig. 3.1: Lightweave by FUTUREFORMS (source: FUTUREFORMS website)

Fig.3.4: Moodboard of various tunnels around Denmark and their current lighting (source: Pinterest, Scoutshonor, Google)

Fig. 3.2: Voice Array by Rafael Lozano-Hemmer (source: Lozano-Hemmer website)

3.2 Case studies DK Fig. 3.3: Walk the Light by Cinimod Studio (source: Cinimod Studio website)

SUMMARY: These three projects were the main inspiration for interactivity through the design process. Each has a different concept that the researching team found interesting and valuable to explore: sound activating light, light control through movement and visually processed sound.

With the learnings from the previous state-of-the-art research in mind, we zoomed into good conduct lighting design practices done in Denmark, specifically in tunnels or underpasses (fig. 3.4). The common thread between these projects were the great use of lively, interactive, storytelling, as well as practical lighting, merged together through the lens of site-specific analysis and research.

Our research team came to the conclusion that many of the tunnels around Denmark that we investigated share a very common problem: the disconnection regarding atmosphere, function and communities. As such, the tunnels often appear dark, eerie, incoherent, with dull and glary luminaires, before any lighting or urban designer intervenes (fig. 3.5).

42

43 3 . 3 The Railway City - a new district

Tunnel in Kolding

Tunnel in Farum

Tunnel in Herstedlund

Tunnel in Greve

Tunnel in CPH Central St.

Tunnel in Farum

Fig. 3.5: Moodboard of various lighting design projects implemented in tunnels around Denmark (source: Pinterest, Google)

F r a m e w o r k

The project developed in Gersagerparken tunnel in Greve (before and after photos in the two Fig. above) caught our attention, as their design team emphasized that their lighting proposal covered the basic functional needs they observed, such as the feeling of safety, while also creating a poetic and lively experience in the dark space. The way the want to achieve this is by doing a basic renovation and repainting of the tunnel, as well as adding light decoration including new function light, interactive scenographic light responsive to sound, reflectors and safety mirrors. It was interesting to read about their proposed package, as it contains site specific design elements but which are meant to create an experience that can possibly be translated into a larger context, in other tunnels. We share the same vision for the on-going development of our lighting project – that of being able to scale it up and apply it on other locations where the functional needs match the users’.

• Creating with light

SUMMARY: The case studies here focus on tunnels around Denmark that shared a very common problem: the disconnection regarding atmosphere, function and communities. This has been alleviated by using lively, interactive, storytelling, as well as practical lighting that met users’ needs, which is something we are carefully aiming to do as well.

Fig. 3.6 Visualizations from COBE's bid for development of The Railway City (source: COBE)

SUMMARY: The area will be changing drastically in the coming years, due to the developmental plans for the district.

The developmental principles do not conflict with our design ideas, but rather agrees with our own intentions. Our design proposal will be based on the current state of the area anno 2021.

The Railway City will be under drastic development in the coming years. In 2021 was it announced that COBE architects won the bid to develop the new neighbourhood (fig. 3.6). The final plan for the development of The Railway City will be drafted by the real-estate company, and COBE architects in cooperation with Copenhagen city council, locals and other interested parties.

We will base our semester project on the current situation, while we still feel it’s relevant to understand the ideas and purposes for the further development of the site. For that reason we have done research on the development plan for The Railway City.

In total the area is about 555.000 M2, where of 175.000 M2 are under disposition of the Metro contractors. DSBs part of the area comprise 287.000 M2 and Freja Ejendomme comprise 78.000 M2. The rest of the development is split between The Yellow town, Copenhagen City, Hofor and Metroselskabet. These organizations have formulated 5 main principles on which development of The Railway City should be founded: 1 Build according to Railway Citys special culture, edge and creative powers.

2 Create a green and urban district in the center of Copenhagen.

3. Develop the district with focus on balance between city life, active communities, privacy and calm/quiet.

4. Develop a city with a sharp focus on climate and sustainability.

5 Develop the district in dialog with Copenhageners and with spirited individuals and investors.

New housing combined with business will be established.

There will be a new metro line with connection to Fisketorvet. In the new plan a new accesses point to the city will be established, although the tunnel between Enghavevej and Railway City will remain as a main access point. The Railway City will to the greatest extent remain a green space with lots of green recreative parts, primarily promote soft transportation (bicycles, pedestrians etc.) and retain the cultural heritage as an integral part of the place. (Jernbanebyen, 2021)

44

45 Infrastuctural nodes “Københavns Kommunes ambition er at inspirere til sammenhængende løsninger omkring byens belysning.

En række områder er særligt vigtige. Særligt fremhæves infrastrukturelle knudepunkter.”

(Fællens udvikling af byens belysning” p. 9 ) To further argue for the importance of functional lighting design in our chosen area, in the Masterplan it is mentioned how infrastructural nodes have special importance. These kind of places are easily experienced as unsafe, and special attention needs to be taken to successfully create a safe and comfortable environment.

Fig. 3.7 The Railway City in the middle. (source: Citelum, 2014)

3.4 Lighting Master Plan There are no suggestions for the lighting in The Railway City in specific in The Copenhagen lighting masterplan, but the general guidelines of the masterplan will be considered on the design.

Even though the Lighting Masterplan has specific guidelines for most of the areas in Copenhagen, for some reason or another there is no guideline for The Railway City. Nevertheless, there is plenty of general guidelines and suggestions for lighting design in Copenhagen regardless of the specific location. Based on our site analysis, the design of this project will consider guidelines regarding lighting design for areas with prominent historical identities and lighting for areas where soft traffic is the main form of transportation. There are also more abstract mentions about increasing coherence and the importance of tunnel lighting.

•

One theme that was observed during the analysis was, that the tunnel area doesn’t feel to belong to the rest of the city, as the atmosphere is so different from its surroundings. As it is mentioned in the masterplan, that the citizens tend to experience city areas as connected entities, the design should consider how there could be added coherence between The Railway City and the tunnel area.

Creating with light

F r a m e w o r k

Coherence “De analyser, der er foretaget I forbindelse med Belysningsmasterplanen, viser, at borgere oplever byens eller kvarterers belysning som en helhed. Det er derfor afgørende for den samlede oplevelse af byens belysning, at lyset hænger sammen.” (Fællens udvikling af byens belysning” p. 9 )

More than light “Fokusområderne og lyskoncepterne tjener som inspiration til at vise, at lys kan understøtte andre af kommunens visioner, f.eks. i forhold til at understøtte fysisk aktivitet, styrke tryghed, formidle kulturarv og understøtte lokalt byliv.” p. 10 Mere end lys It is acknowledged in the masterplan, that lighting design can have more goals than providing sufficient illumination.

In our case, we would especially like to support the cultural heritage and the local community with light.

Luminaires As for the recommendations for the luminaires in The Railway City, the guidelines about lighting for local roads, soft traffic and lighting for historical workers neighborhoods will be implemented.

“For at understøtte den særlige stemning i de gamle arbejderkvarterer, foreslår vi et specifi kt armatur, der kombinerer klassiske og industrielle stilarter.” p. 23

Fig. 3.8.: Suggested colour temperatures for the streets of Copenhagen. (source: Citelum 2014)

As for the street lighting in The Railway City area, a luminaire with a mounting height of 4m that combines classical and industrial styles is suggested. (fig. 3.9) (Belysningsmasterplan, p. 23) This light should have a kelvin value of 3000, as it is considered ideal for soft

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47 3.5 Outdoor lighting standards The previous research on the Lighting Masterplan of Copenhagen concluded that there are two contrasting types of light that are appropriate for our focus area:

traffic forms to promote the feelings of safety and comfort.

(Belysningsmasterplan, p. 32).

The Enghavevej on the other hand is considered as a large road, and the guidelines that apply to it are rather different from the ones that apply to the local roads.

“In large roads it is important, that the main paths of the city’s roadwork can be easily identified by their lighting and particularly by the lighting fixtures. The luminaires need to function as a landmark and play a guiding role in the complex urban network. The visual orientation needs to be intuitive, so that the luminaires and the light they spread, help the user to “the right track”.”

P. 19 The suggested luminaire type for Enghavevej differs from the type of luminaire that is suggested for The Railway City. It is more simplified and modern in style, and the suggested mounting height is 8m and colour temperature equivalent to daylight, 4000K. (fig. 3.10) As a goal of the design project is to create coherent lighting that connects Enghavevej and The Railway City in style, the challenge of creating connection between two city parts is faced.

Fig. 3.9: Fig. Suggested luminaire for historical workers neighborhoods. (source: Citelum 2014)

Fig. 3.10: Suggested luminaire for the major roads. (source: Citelum 2014)

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On Otto Busses Vej side: luminaires that reflect the local roads in the area and support soft traffic and lighting for historical neighborhoods; placed with a height of 4m, with a classical and industrial look and with a CCT of 3000K

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On Enghavevej side: luminaires designed for large roads, simple and modern looking; placed at a height of 8m and with a CCT of 4000K

In addition to lighting for local and large roads, which are representative for the nodes connected to the tunnel to The Railway City as described above, further research has been done on the European and Danish Standards for road lighting (EN 13201-2). This was an important step in identifying the recommended illuminance and uniformity values inside of the tunnel.

Thus, the findings showed that the tunnel under this study resembles class C, intended for use on conflict areas (fig.

3.11). A conflict area signifies an area of somewhat high visual complexity, where two or more different types of

F r a m e w o r k • Creating with light

SUMMARY: The Copenhagen Lighting Masterplan supports our design visions in many ways. The importance of supporting historical heritage and coherence is mentioned, as well as designing lighting for local roads, large roads and infrastructural nodes.

Fig.3.11: Lighting requirements for the nodes connected to the tunnel falling under class P, according to EN 13201-2

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49 3.6 Sustainability users are traveling at the same time – in our case, we have cyclists and pedestrians overlapping paths. In this case, the recommended minimum illuminance on the ground level is between 7,50-50 lx, with a minimum uniformity of 0,40.

Another finding from the EN 13201-2 covers the requirements for the 2 nodes that the tunnel leads to, which fall under the P lighting class (fig. 3.12). This class is therefore intended for pedestrians and pedal cyclists, just like our analysis showed, and presents the required average illuminance ranging between 2-15 lx and the minimum illuminance 0,40-3 lx on ground level.

As lighting designers, it is important our project does not take part in light pollution which is a worldwide issue.

There are multiple consequences of lighting pollution such as interference with astronomical research and disruption of natural ecosystems. There will be more focus on other issues like the well-being of people, energy waste and the preservation of a starlit night sky, since these problems are more relevant to this project.

“For my part I know nothing with any certainty, but the sight of the stars makes me dream.” — Vincent van Gogh Circadian rhythm Most forms of life follow a biological clock – circadian rhythm –, a sleep-wake pattern that is dictated by the day-night cycle and it can be greatly affected by artificial light in the night (IDA, 2021). Minimizing light pollution is essential for a sustainable future, since it can negatively affect human well-being but also wildlife.

In our case, light pollution would be minimal since the light fixtures on the entrances of the tunnel are not many.

Their effect to the overall light pollution would be minimal.

But it is important to follow the sustainable way and design with it as a discipline.

F r a m e w o r k

Energy waste IDA (International Dark-Sky Association) estimates that 30% of outdoor lighting in the US is wasted mostly because of non-shielded fixtures. That number equals to 3.3 billion dollars and the release of 21 million tons of carbon dioxide per year for the US alone. 875 million trees need to be planted per year, in order to offset this waste (IDA, 2021).

Fig. 3.12: Lighting requirements for the tunnel falling under class C, according to EN 13201-2

• Creating with light

SUMMARY: In order to create a seamless connection between the tunnel and the two nodes it is immediately linked to, a comprehensive lighting system has to be built, that follows a coherent set of standards and meets the conveyed needs of our users.

Solution There is a broad spectrum of light sources that contribute to public lighting but not all of them work for our purposes regarding sustainability.

“We must rethink urban lighting beyond just a functional add-on for safety or beautification and recognize it as an opportunity and fundamental solution to improve the quality of life for urban citizens” (ARUP, 2015, p.5).

Light from light poles and fixtures need to be focused on the streets, to minimize glare and light pollution, to achieve this, the fixtures need to be shielded or cut off. If

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51 3.7 Design inspiration from analysis an outdoor fixture emits light over its own height, then it creates light pollution and should not be used.

Furthermore, it is important to use energy efficient light bulbs, such as Light Emitting Diodes (LED), since they minimize energy consumption and have a long lifespan between 50,000-70,000 hours, when operating on nonhigh temperature environments.

Skylights --> pool of light

train tracs --> interactive shapes

children´s drawings --> playfulness

low entrance (west) --> wayfinding

Fig. 3.15: illustration of design inspiration from site

fully cut-off fixtures

Fig. 3.13: Types of fixtures that create light pollution. (source: Global Designing Cities organization website)

fully shielded fixtures Fig. 3.16: Lonely skylight opening in the underpass

F r a m e w o r k

Fig. 3.14: Shielded fixtures that emit light focused to the street. (source: Global Designing Cities organization website)

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non-shielded fixtures

upright light poles

Creating with light

SUMMARY: In terms of sustainability, the focus is the well-being of the residents, creating an energy efficient design and maintaining a dark sky. By using shielded or cut off fixtures that do not emit light over the height of the pole, but also using LEDs, we create a design that does not affect people but also saves energy.

When the design process started, we began by having a look on the site analysis. The idea was to draw inspiration from the site itself (fig. 3.15), and the site offered plenty of ideas. The tunnel area has several architecturally interesting elements. First, the location under the train tracks and all the train sounds give food for imagination.

We wanted to complement that train theme somehow in the design. Another interesting structural element in the tunnel are the “skylight openings”, in total 5 of them, out of which only 1 has actual opening for daylight (fig. 1.16).

Most of the skylight structures remain sealed, allowing no daylight in. The reason for having these structures remains unknown – perhaps they have been open some time in history, or perhaps they have been built so there would be a possibility for opening in the future. Nevertheless, we saw great potential in these structures to create lighting that would complement this tunnel in specific.

Also, the social analysis offered us with some ideas on how to go forward with the design. The user group of the tunnel is quite varied, with the school children, young adults from the dormitory, and families from the Yellow City.

On the time of the design process there happened to be an exhibition of the children’s drawings in the tunnel. This gave us a message that there is a need for colour and playfulness in the long tunnel, and that we should remember the needs of the children in the design, while keeping in mind the needs of adult cyclists and pedestrians passing through on their daily commute.

In addition to creating the design for people who use the tunnel daily, we aimed our direction to the entrance on Enghavevej. The entrance is architecturally interesting, since it has a lowered position under street level, and it is rather difficult to spot from Enghavevej side. As we mentioned several times on the site analysis how intriguing and beautiful The Railway City is, we started to think that it would be necessary to highlight the entrance in some way to make it more inviting and having more people explore the exceptional city.

SUMMARY: The architectural elements of the site offered several possibilities and ideas for the design concept. The key elements that were picked from the architectural site analysis to the design concept, were the potential of the skylight opening structures, train theme as part of the historical heritage, the presence of the varied user groups, and the challenge of having an entrance that is positioned under ground level.

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3.8 Sub-conclusion There were several themes that kept reoccurring during the build-up of the framework. These themes included keeping the users in the center of the design process, designing in a sustainable way and respecting and promoting the historical heritage.

The potential of outdoor and underpass lighting was also found to be a relevant contributor to a lively and active city.

F r a m e w o r k • Creating with light

4

Design & testing On this chapter, the design concept will be presented along with the various experiments that took place. This is the final and most important step before creating a cohesive final design proposal for the tunnel connecting Enghavevej with Jernbanebyen. It contains multiple ideas through it, some were verified but some others were rejected through the experiment process.

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4.1 Design Concept Based on our design criteria we defined the following design concepts by referring to Richard Kelly’s three components of light: focal glow, ambient luminescence and play of brilliants.

Interactive tracks The second part of the concept is to use traces from the history. Sound responsive LED-lights resembling train tracks will be traced inside and outside the underpass to allude to the history, while also drawing people’s attention to lure them inside, and thereby increasing discoverability.

The sound of the area will be translated into the dynamic light animation of the LED-light tracks, both as playful tool and to stimulate the senses and make the transition through the underpass more interesting.

Pools of light The first part of the concept is to create pools of light coming down from the ceiling openings, where there once might have been windows, but now have been closed off. This will enhance and build upon the already existing architecture of the underpass. As it is not possible to create actual skylights, artificial light sources will be placed in the openings, creating an illusion of spaciousness and create some visual intrigue, as well as breaking the long monotonous underpass and allow for better depth perception. Patches of light and darkness and non-uniform distribution will mimic the atmosphere of a walk in the woods.

D e s i g n a n d Te s t i n g

Layers of light Encompassing all aspects of our light design will be the implementation of layers of light. The pools of light inside and outside will create focal glow, highlighting the architecture of underpass, and distribute ambient luminescence throughout. The interactive train tracks, that are sound responsive, will serve as play of brilliants, that draws attention and adds visually intriguing effects. It represents a part of the historical heritage of the area, as well as representing the present sound scape of the space around the underpass.

Extending the entrances The third part of the concept, will be to add light outside the entrances on the ramps and stairways. Similarly to the pools of light inside, external pools of light will light up the entrance, both to increase discoverability and to increase safety. Adding light outside the entrance, will also mellow out the contrast between light and dark at night time.

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1 2 3 1

• Creating with light

fig. 4.1: section view of design concept.

1: focal glow, 2: ambient luminescene, 3: play of brilliants

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57 4.2 Design experiments Having developed the design concept, we made a series of design experiment to help defining the final implementation of the design. The experiments were conducted on site, through sketches and renderings, and with the help of a scale model of a section of the tunnel. In the start, we didn’t define very specifically how we like to place the luminaires, but rather left space for playfulness and new ideas on the site.

Fig. 4.4 Early design sketches Fig. 4.2 Ultra Go Par 7 X, luminaire used on the experiments. (source: ADJ lighting)

D e s i g n a n d Te s t i n g • Creating with light

Colour As we had access to RGB lights, it was natural to experiment with different color scenarios in the space. There was a wish to use more of white light, but we did not have access to white lights that would run with batteries. Combining all the colors in RGB produced a kind of a white light, but the color rendering in that white was not sufficient for our needs. Therefore, we couldn’t do proper experiments on site about how we would like to use white light, and we ended up spending a lot of time discussing and experimenting the use of colored light.

The feeling conveyed by different colors is strongly subjective and tied to context, and we didn’t end up with strict conclusions on different meanings of different colors. However, we did notice some associations linked to specific colors in specific places. Having multiple colors close to each other reminded us about clubs and dance floors. And when we lit up the end of the tunnel with green and red light, there was a clear association to traffic lights and symbolism of being allowed or denied entry. This observation about color red as a sign of “access denied” or possible danger was also something we had noticed while creating early design sketches.

Fig. 4.5 View on Copenhagen S-train (source: Wikiwand 2021)

Fig 4.3 Experiments on coloured light on site

In these sketches in fig. 4.4 we had been developing an idea that was inspired by the screens in trains in Copenhagen, as in fig. 4.5, that show the passengers their location between different stops. But the design soon began to have an almost hostile feeling to it. The feeling of hostility might have been due to the high contrast or choice of composition, but also a pure change in colour to a more neutral yellow immediately shifted the atmosphere to a more friendly one.

When we lit up the entire entrance area with one colour in time, it was more difficult to evaluate the perceived atmosphere. Entirely red entrance area did give a feeling of possible danger, yet it was also so intriguing we thought that it would still encourage people to explore.

Entirely blue entrance area felt generally weird and alien.

We as a project team used ourselves as the evaluators of the different settings, and no interviews of locals were conducted. Nevertheless, we did observe several passersby and their reactions to the settings we had created.

Excluding the irritation our settings created with glary positionings of the lights, the general attitude seemed to be curious and positive.

To conclude, it was obvious that it would be a bad idea to light up the space with solely bright and vivid colours. Coloured lights in large quantities make it more difficult to perceive the surroundings, and lighting on a highly used pedestrian tunnel has to offer clear visibility.

However, we saw a lot of potential in the use of colour, and how colour could be used as a tool to raise interest and direct attention towards the entrance and the tunnel.

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Fig. 4.6 Entrance with additional lighting

Fig. 4.7 Entrance without additional lighting

D e s i g n a n d Te s t i n g • Creating with light

Highlighting the entrance On the analysis we had conducted, that the hidden position and darkness of the entrance were one of the main problems that had to do with the discoverability of The Railway City. In other words, the wayfinding in the area was dysfunctional.

On the interviews and general discussions, we had found out, that people either don’t notice the tunnel or they don’t know where it leads to. As we wanted to have people notice the entrance better and feel safer around the entrance, we experimented with shining light on the area with different shapes and colours. We ended up mostly discussing the illumination of the vertical surfaces, because we wanted to focus on surfaces that would be visible from distance.

Horizontal surfaces are most noticeable from close by.

Shining a coloured light on the fence above the entrance made the entrance area (fig. 4.6) more noticeable and interesting when observing from distance. However, we were worried if the fence was an attractive design element, especially on seasons when there are no leaves.

We also noticed that the indirect light that was bounced off the entrance wall seemed to provide sufficient illumination for the stairs and bicycle ramp too. Especially compared to the original setting where the level of illumination on the bicycle ramp is a round zero lux.

Fig. 4.9 Fake skylight created by pointing an RGB battery light up to a white surface to create a diffuse indirect light downwards.

Fig. 4.8 On the left, a setting created by the project team. The blue colour is the interpretation of the camera about the poor RGB white, not part of the design suggestion. On the right the original setting.

Pools of light One of the design ideas that had kept with us since the start was to transform the sealed “skylight openings” into fake skylights.

The problem with this idea was, that the openings are rather distant from each other. When we simulated the idea of these fake skylights with the battery lights, we created pools of light with the length of 5 meters in the ground, and dark areas with the length of 7 meters in between them. The fixture that would be used on the final design would be different, but the dimensions should stay approximately the same. However interesting we found this rhythm of light and dark to be, the patches of darkness were too big and too dark. The luminosity of the dark areas was almost non-existent, and the tunnel didn’t feel very safe. This problem would have to be tackled in the design by presenting another light source for the dark areas.

Doing the physical experiment reinforced the design concept by shoving us, that these fake skylights do add feelings of spaciousness and visual interest. The lights helped in creating an illusion that the space would continue more upwards, compared to the original setting that doesn’t highlight these openings. Although the colour rendering of the RGB white was very poor, we could still see that there was a lot of potential with better fixtures to have the openings feel like actual daylight openings. The fig. 4.10, render done in 3D modeling software Blender, shows in a bigger scale and non-misleading colour, what is the effect we want to achieve.

After having conducted experiments on the “pools of light” concept in the form of digital renderings and physical mock-up lighting experiments and the project team felt confident about the idea, a 1:25 scale model (fig.

4.11) was created for further validation and upcoming experiments with interactive lighting design.

Fig. 4.10: Render created in 3D modeling software Blender

Fig. 4.11: 1:25 scale model extended in Photoshop

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Scenario 1: 3m

Fig. 4.13 Sketches of the form of the interactive tracks.

Scenario 2: 6m

Scenario 3: 12m

• Creating with light

Scenario 4: 15m Fig. 4.12: Fig. Simulations used in evidence-based lighting experiment, the number describes the distance between the luminaires.

Fig. 4.14 Train tracks from close and far. Source: Pinterest

D e s i g n a n d Te s t i n g

Non-uniformity Whereas most of the previously mentioned design ideas have been based on case studies, personal preferences and artistic views of the design team, part of the design development was conducting a scientific experiment based on evidence. However wonderful it would have been to experiment with all the ideas on a scientific basis, it would have been a very time-consuming process. Therefore, one narrowed down and specific topic was chosen for the experiment. (Arboe Harild, M., Nichita, A., Ruohonen, S., Samaras, A., 2021).

The topic the design team chose to work with, was the preferred amount of lighting uniformity in pedestrian tunnels. For this purpose, a set of renderings were created to illustrate different densities of ceiling-recessed downlights.

Regarding the length of shadowy parts of the tunnel, one of the renderings, the Scenario 3: 12m shown in Fig. 4,12, was somewhat similar to the “pools of light” concept that the design team has been working with.

The conclusion for the experiment was, that positive attributes such as safety, comfort and spaciousness, were more often linked to the settings with short distances between the luminaires than to the settings with long distances between the luminaires. As the main differences between these simulations were the level of lighting uniformity and the number of visible luminaires, it could be said that high lighting uniformity and high number of visible luminaires was preferred for the respondents in this occasion. However, the experiment also gave a result of the experience of visual interest to be more linked to the scenarios with longer distances between the luminaires.

To connect the experiment with the design under development, it is noticeable that the experiment didn’t directly work for our favor. The scenario where the lights were placed within 12m distances from each other, was evaluated as the least comfortable, the second least safe, and the second least spacious. However, it was evaluated as the most visually interesting out of all the scenarios.

The distance between the luminaires in the tunnel is fixed, because we cannot move the skylight opening structures. Therefore, we will work on enhancing the evaluations of safety, comfort and spaciousness by other means than the distance between the luminaires. As the results also indicate, that higher level of brightness and uniformity are favorized when reaching for safety and comfort, we will increase the uniformity and brightness with another luminaire.

Interactive train tracks After we had settled with the idea of creating an interactive installation that would promote the historical heritage of The Railway City, the first issue was to define the form.

We were persistent on keeping the idea of trains and train tracks with us, but several of the ideas were turned down since they felt too obvious and childish. The challenge became to somehow communicate the idea of train tracks in a subtle way. Inspiration was drawn from photos of train tracks and descriptive words, such as industrial, dynamic and strong.

We sketched several ideas that borrowed elements from actual train tracks and portrayed them in a simplified form.

The ideas included illustrating the empty space in-between the tracks, creating a new form inspired by the zoomed-in view of the tracks consisting of straight lines and squares, and creating a new form inspired by the zoomed-out view of the tracks consisting of simple and curved, overlapping parallel lines.

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63 4.3 Final design

In the design concept we had decided to have the interactivity responsive to sound. The next challenge was to define, what kind of response we wanted to have, and how should the sensors be organized. The options varied from having only one sensor in the end of the tunnel to having several sensors in close intervals along the length of the tunnel. Due to the complexity of intelligent lighting design installations, this part of the design has stayed more in the level of ideation, and only a small and simple interactive experiment was carried out. The experiment was conducted with help of a Seeeduino microcontroller, a Grove sound sensor, and an addressable RGB LED strip and the scale model, studying different kinds of animated light scenarios.

The experiment with the animated lighting scenarios ended in the conclusion, that many of the animated scenarios were simply too flashy and would demand a lot of attention from the user. As most people use the tunnel for ordinary commuting rather than to experience something extravagant, we put attention in making sure that, whatever the effect was, it would not give too much new symbolic meaning to the light and that the final design would stay subtle.

This chapter is a visual depiction of the final design, which has been envisioned after revisiting the findings from chapters 3 and 4 and visualized through TwinMotion renderings and graphical diagrams.

A user journey through the tunnel from Enghavevej to Otto Bussesvej has first been presented through rendered images, in order to put into context the lighting design proposed and to offer a more extensive view of the complex design. The interactivity system this design is based on is then explained through a procedural diagram, followed by the implementation table of the entire lighting, for a better overview of its elements. Lastly, the key takeaways from the design evaluation done in the old train station (Baanegaarden café and bar) have been presented, which supported and validated our vision.

D e s i g n a n d Te s t i n g

Fig. 4.15: Experiment setup with Seeeduino microcontroller, addressable LED strip, Arduino software and the scale model

• Creating with light

SUMMARY: The design experiments provided valuable insights into shaping the design concept into a final design.

During the experiments, the specifications for the pools of light and interactive train tracks were formulated.

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Night scenario: 23:00 (June)

Sunset scenario: 21:30 (June)

D e s i g n a n d Te s t i n g •

Enghavevej node Since the tunnel is currently hidden below eye-level and unnoticeable from Enghavevej, the track lights are spread above its entrance, on the overhead fence and on the concrete wall across from it. In this way, there is a more clear and visually interesting signaling of the path towards the City and out of it.

Creating with light

Rainy, overcast: 15:00 (June)

Afternoon scenario: 15:00 (June)

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Tunnel night view 1: 23:00 (June)

D e s i g n a n d Te s t i n g

Tunnel night view 3: 23:00 (June)

Tunnel night view 2: 23:00 (June)

Tunnel night view 4: 23:00 (June)

• Creating with light

Tunnel The tunnel reveals the light tracks even more, which are coming in and out of the dark surface of the ceiling and walls, reminiscent of the old train tracks you can still find around Copenhagen. This makes the transition more dynamic, amplified by their continuous glow. Here, the light tracks are complemented by the use of the pools of light, which bring attention to the architecture of the tunnel and make one’s journey more enjoyable.

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Otto Busses Vej node The inner tunnel pools of light and light tracks accompany users through the tunnel and finally into The Railway City, where they are met with the final element of our design, the Otto Busses Vej pools of light. The light poles shine down on the 4 pathways, showing the way deeper into the City, which people can further explore.

Sunset scenario: 21:30 (June)

Rainy, overcast: 15:00 (June)

Night scenario: 23:00 (June)

D e s i g n a n d Te s t i n g • Creating with light

Afternoon scenario: 15:00 (June)

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71 User journey to the Railway City The user journey is presented from a pedestrian perspective, in order to emphasize the ideal usage of this otherwise cramped tunnel.

D e s i g n a n d Te s t i n g • Creating with light

Still images taking you through the tunnel into the Railway City, from Enghavevej to Otto Bussesvej.

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73 Interactive light track Each light track module has a sound sensor incorporated, which picks up sounds from the environment and translates them into dynamic light, emitted by the LED strips. This is possible by connecting it to an Arduino board, which takes the input of the microphone, runs the code and then gives the command to the LEDs to raise or lower their output, according to the data of the input (fig.

4.19). This effect can be triggered by a passing train, users of the tunnel or other sounds from around the tunnel.

Both the shape & the sound triggering interactivity are paying tribute to the heritage of the area.

The tracks are mounted on the wall on an aluminum profile, then there is the LED strip & finally a polycarbonate diffuser to create a better light output (fig. 4.18).

The final design consists of pools of light (inside the tunnel and at its entrances) and modular light tracks (LED strips that are found throughout the tunnel and at its entrances), as showed in the two diagrams below.

D e s i g n a n d Te s t i n g

Fig. 4.18: Built of tracks (source: Wavefront)

Fig. 4.16: Top view of the lighting design in the tunnel and its entrances. The pools of light are marked with a cool white color in the designated areas they are falling on, while the light tracks that go on the ceiling are indicated with a double yellow line

Fig. 4.17: Section of the tunnel visualizing the lighting design from a side perspective. The placement of the pools of light inside and outside of the tunnel is emphasized, while the light tracks that go on the walls are pointed out through continuous lines for the further away wall and with an interrupted line for the immediate wall

PROCESSING

OUTPUTS

microphone

Arduino processing

brightness of LED tracs

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INPUTS

Creating with light

Fig. 4.19: interactivity procedure

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75 4.4 Evaluation

The final design concept is divided into three main areas: Enghavevej node, the tunnel and Otto Bussesvej node. The main lighting parameters taken into consideration were the color, height, density and distribution & direction of the light, which have been assigned to each of the luminaire type in accordance to the findings discussed in the analysis, framework and design chapters. The Copenhagen Lighting Masterplan was the main source of inspiration for choosing the luminaire types.

Evaluation set up in Banegaarden

Lighting design implementation table: Tunnel Pools of light

Light tracks

5 x recessed LED panels ("fake" skylights)

13 x modules of double LED strips (walls, ceilling)

cool white (4000K)

cool white (4000K)

yellow/warm white (3000K)

4,5 m

3,5 m

variable

4,5 m

6m

12 m

linear

circular

Creating with light

Pools of light on Otto Busses Vej node

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Pools of light on Enghavevej node

direct, down, spotlight, beam angle 100o

direct, down, diffuse

direct, diffuse, asymmetric

direct, down, spotlight, beam angle 100o

Light source

D e s i g n a n d Te s t i n g

Colour (CCT)

6 x MO-400

6 x MO-400

cool white (4000K)

Height

Density

Destribution / direction

When the final design was finalized and rendered, a quick evaluation of the design was conducted inside the Railway City in the Banegaarden (The old train station) bar and café. The research team set up a table with a rendered video tour in TwinMotion that was presented to people, and a questionnaire about how they perceived the new design of the tunnel lighting. The general feedback was positive.

Respondents who took part in the evaluation were daily visitors of the city and some people who had never been there before. Three of the respondents worked as chief officers in DSB and were in charge of the development of the Railway City area.

The questions were tailored according to the success design criteria, which consisted of enhancing transition, creating a landmark and promoting the historical heritage of the Railway city. We asked questions such as “What is your first impression of this lighting design?”, “Do you consider this tunnel memorable?” and “Do the yellow lines remind you of anything?”

All the respondents considered the tunnel as safe and attractive. They used descriptive words, such as comfortable, friendly, artistic, upscale, organic and soft. The topic of spaciousness was also spontaneously mentioned by one of the respondents, describing how “The skylights give an open feeling to it, like you’re not trapped.”

Regarding the historical heritage and the function as a landmark, the design was described as memorable and different than other tunnels. Most of the respondents saw the reference of the yellow lines as an obvious representation of the train tracks, and the design gathered several compliments. The link of the yellow color having something to do with the Yellow Town was not realized by any of the respondents. Nevertheless, the color was perceived as pleasing. The fact that our renders didn’t have any graffiti was noticed by several people, all of them feeling very happy about how clean it was but raising concern on how we would maintain that cleanliness.

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R o u n d - o f f •

5

Round-of f In the final chapter of this project, we will discuss the chosen approach and weigh in on how it might have been done differently. Lastly, a final conclusion on our efforts is formulated with our key findings.

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79 5.1 Discussion

R o u n d - o f f • Creating with light

In the start of the process, we defined the success design criteria, which included enhancing the transition between the two parts of the city, promoting the historical identity of the Railway City by giving identity for the tunnel, and creating a noticeable landmark. Conducting the evaluation validated the design according to the criteria to some degree, but there still is room for discussion. One thing to notice is, that the sampling group of the respondents in the evaluation was rather small, only 6 people, out of which 5 were male. The team could have expanded these interviews to more people with a bigger plurality on age, occupation and gender.

There were also some topics, that could have been further studied and considered in the design.

One of these topics was the matter of graffiti. The issue of dealing with and preventing graffiti was often discussed, but the implementation of these plans was left unfinished. Talking with the DSB officers during evaluation raised the topic to discussion again, when they raised special concern on maintaining a clean, graffitiless design in the tunnel.

Concerning future works, the final design implementation plan is something that would require further experiments and research. Regarding the sound responsive installation, the different types of sounds in the tunnel could have been defined more specific. Also, the fact that the tunnel is highly echoing would probably influence how the sensors should be calibrated and organized. Further testing would have been useful in the process of defining the exact way of interactivity, and design evaluations with test users could have been conducted. Further testing should have also been conducted regarding specific levels of illuminance and how the new lighting would interact with different materials.

In the start of the process, extending the design beyond the tunnel area was of high interest for the design team. However, as the time ran short, the design became more focused on the tunnel.

Extending the design further into the city would have been beneficial for added coherence. For example, the tracks could have been incorporated in the street

5.2 Conclusion of Otto Busses Vej and break into the four paths a user can take when exiting the tunnel. Expansions like this, could have improved the experience of transition and made the design feel more cohesive.

Sustainability was not a priority throughout this project. It was mostly implemented towards the end, when some details in the design were adjusted so light pollution would be minimized.

The incorporation of Sustainable Design Goal to the design could have been a great step towards making it more sustainable. Furthermore, in theory we should be using less energy than the current lighting, since we use less luminaires and they are LED. Making a data comparison between how much energy is currently consumed versus how much would be consumed from our design could have also been a good step.

The main focuses of this project were enhancing the transition between the Railway City and Enghavevej, making the Railway City more discoverable, all while promoting its historical heritage.

Through this process, it was crucial to understand the context of the area. The first step was to analyze the geographical and historical context, the urban environment, social landscape and the atmosphere of the area. There were some themes that seemed more dominant over the others. One theme was the historical heritage and identity of the railways, the plurality of age groups using the area, and one more is the strong soundscape of the area, since the area is subjected to significant amount of traffic noise.

The next step was moving from the holistic picture and zooming in the focus area of the transition, which was the tunnel. There was a user analysis, a spatial analysis and lighting analysis which gave a detailed understanding of the focus area. The result was a clear understanding of the area’s shortcomings, such as the poor discoverability of the tunnel due to the lowered position and poor signaling of the entrances, and the tunnel having a dull atmosphere because of its total uniformity. There was also a practical problem of the entrance area being simply too dark, which has been solved with increased overall illuminance.

Furthermore, there was a need of getting inspiration from other projects, so the final design can add something new to the area, since improving discoverability was one of the main needs. An examination of other interactive lighting projects, local tunnel projects and the revitalization plans of the area took place. Other things that were examined was the lighting master plan, lighting standards and sustainability recommendations were essential, with the goal to fit the project perfectly in comparison to the rest of the city and the future. The conclusions of this research were that is it integral to keep the users in the center of the design process, to design in a sustainable way and to respect and promote the historical heritage. Also, it led us making a design that is lively, interactive, storytelling, as well as practical lighting that meet users’ needs.

Finally, our interactive design concept for the continuously developing Railway City area proved to be a viable solution which fulfills our initial design criteria and subsequently the identified needs of the community.

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