1.4 Urban analysis

2.3 Lighting analysis

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.

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.Analysis: focus area

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.

bicycle path Enghavevej

9lx

3lx #4

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

#1

#2

#3

#4

30 lx

#2 #1 #1

22lx 23lx

12lx 7 lx 15lx #3

#2

#3

25lx #1 #1

13 lx

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

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.

Fig.2.10: drawings of luminares DAYLIGHT DARK

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.

daytime nighttime

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

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.

UNSAFE dark bike ramp, restricted visibility/view, no light at the entrances --> VISIBILITY add more light, add light reflective surfaces

DISCONNECTION restricted accessibility --> TRANSITION link communities and people together with interactive light HIDDEN dark and uninviting entrances --> DISCOVERABILITY use the passage as a landmark for the community

LACK OF IDENTITY the passages seems forgotten in terms developing lighting and design --> 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 Fig. 2.13: problems (white) and possible solutions (grey)

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.

2.5 Problem statement & success criteria

Problem statement:

How could lighting enhance the transition, between Enghavevej and The Railway City, for pedestrians and make it more discoverable while promoting the historical heritage?

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.

TRANSITION --> ENHANCE THE TUNNEL AS A LINK

#1 #2 #3

HISTORY/ CULTURE --> IDENTITY DISCOVERABILITY --> LANDMARK 3Framework 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.

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.

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.

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

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.

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

3.2 Case studies DK

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).

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)

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’.

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.

3.3 The Railway City - a new district

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)