Lighting
Design
PORTFOLIO Dane Amilawangi
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2020
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profile
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DAN E Place, date of birth
A M I L AWA N G I
Bandung, 15 Oktober 1995
Phone number +46764331892 Address Forskarbacken 17 LGH 1308 11416 Stockholm, Sweden Email amilawangi@gmail.com Website danea.myportfolio.com Linkedin linkedin.com/in/dane-amilawangi-214b10136
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EXPERIENCE 2018-2019
G ra haci p t a H ad i pra na | J a ka r t a , I ndonesia
Lighting Designer 2017
Lu m i na | J a ka r t a , I ndonesia
Lighting Design Intern 2016
LABO Architecture + Design | Bandung, Indonesia
Architectural Intern 2015
I n s t i t u t Te k n o l o g i B a n d u n g | B a n d u n g , I n d o n e s i a
Research Assistant E D U C AT I O N 2019-2020
K T H R o y a l I n s t i t u t e o f Te c h n o l o g y | S t o c k h o l m , S w e d e n
Maste r o f S c ie n c e in Arc h ite c tu ral L ig h tin g De sig n GPA : 4.00 Activities : Student member of IALD, Light in Alingsas workshop, Indonesian Students’ Association in Stockholm 2016
TU Wien | Vienna, Austria
A rc h ite c tu ral C u ltu re a n d B u ild in g P re se rv atio n 2013-2017
I n s t i t u t Te k n o l o g i B a n d u n g | B a n d u n g , I n d o n e s i a
B ach e lo r o f S c ie n c e in Arc h ite c tu re GPA : 3.65 Activities : IMA-G ITB (Architecture Student Association), LFM ITB (Cinematography Club), Head of Art Division for Ganesha Film Festival, Head of Publication Division for Architecture Festival (Gaung Bandung)
HONOR 2019
&
AWA R D
I ALD Schola rship
International Association of Lighting Designer - Lighting Design Alliance 2019
Darc Awa rds | Shortl isted
Arc Magazine Shortlisted for the Art / Low Budget category Project title: The Source, The Connection, The Environment Installation project for Light in Alingsas 2019
K TH Schola rship
KTH Royal Institute of Technology 2017
I ndonesia La ndsca pe Design Com petition | 1st Winner
Bogor Institute of Agriculture Redesigning the historic area of Sudirman Street, Bogor Project title: Reframing the Past for Assembling the Future 2016
Uni versity of Ja ba l G ha fur M a sterpla n Design Com petition | Top 10 Design
Syah Kuala University Proposing a masterplan for campus with thorough research in Aceh culture and sustainability Project title: Eco Humanist Campus Associated with LABO Architecture + Design
INTERESTS
SKILLS
Art • Architecture • Film • Graphic Design • Illustration • Travel •
Te c h n i c a l AutoCAD
• Revit • Archichad • Sketchup • VRay • Relux • Dialux • Adobe Photoshop • Rhino • Grasshopper • Adobe Illustrator • Adobe InDesign • Microsoft Office Language
English (IELTS 7.5) • Dutch (Basic I) • Indonesian (Native Speaker)
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projects
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01 8-17
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18-35
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3 6- 4 0
04 41-45
05
46 -50
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01 URBAN FOR
ACUPUNCTURE
DAR KN ESS
Values of Darkness in Pedestrian Experience Sudirman Street, Jakarta
Location: Jakarta, Indonesia | Tutor: Dr. T.W. Stone - TU Delft | 2020 “Urban Acupuncture for Darkness� is a thesis project for KTH Architectural Lighting Design Master Program. This project expressed concern for light pollution problems in cities. Light pollution is known for causing a multi-scaled problem and negatively impacts energy consumption, night sky, ecology, and wellbeing. As much as we focus on artificial lighting in the planning of our urban nightscape, it is necessary to balance this with a consideration of darkness. The project is aimed to explore design possibilities for re-introducing darkness in the urban environment by applying the transformative approach of Urban Acupuncture. Through this concept, the intervention created in specific areas, allowing darkness to be experienced attractively and comfortably, and communicate an environmental message regarding dark-sky preservation. This project is using Sudirman Street, Jakarta, as the case study.
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Sudirman Street Map
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Site Analysis The analysis from visual impression and experience of Sudirman Street is focused on three elements that most experienced by pedestrian: sidewalk, pedestrian bridge, and skate park, and landmarks. On the sidewalk, the ambiance provided a uniform distribution of light—the edges of the light beam resulting in a diffused transition between brighter and darker areas. The light level perceived as bright, especially in the edges of the sidewalk near the bicycle path and the landscaping. However, the overall experience perceived as monotonous, due to lack of variety in scale, color temperature, lighting scenario, and lighting effect, even though the sidewalk consists of several elements such as bicycle parking, bench, and the entrance to MRT Stop, and shelter. On the pedestrian bridge, the visual impression is perceived as playful and bright. These areas consist of a two-layer of light, static, and dynamic light. The static light accentuated the horizontal element in the railing, and the dynamic color-changing light accentuates the vertical element and the ceiling element. The colored light also reflected in the faces of people, creating a unique experience. The overall impression perceived that these two-layered of light are overlapping each other, creating a unified zone of light. The ambiance is also considered as having too many elements because every element of the bridge is lit up, without any variety of light and dark in the experience. However, compared to other areas, the pedestrian bridge provides the most memorable experience, due to the temporality of light and its enclosed space. As a result, this area has the highest potential to become the leading site of intervention, which will carry an environmental message. On the skate park, the visual impression is perceived as unattractive. Lighting distribution in the area is considered as too general. Most luminaires in the area are using the cold temperature of light, except small uplight beneath the trees. The lighting scheme did not represent the dynamic characteristic of the space as a place for people to interact and playing skateboard. In the seating area, there is no human scale light, and the ambiance is perceived as not encouraging to stay and interact. Some areas of the skate park have also appeared as darker in comparison to the sidewalk, which could influence a sense of safety. Lastly, all landmarks in Sudirman Street are lit by excessive amount of lights.
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The project aims to explore design possibilities for re-introducing darkness into the urban nightscape. The goal is to create a design proposal in a conceptual stage by applying Urban Dark Acupuncture concept for Sudirman Street, Jakarta, with several objectives; focusing on lighting for the pedestrian facility, creating an attractive and comfortable environment, and communicating environmental message regarding light pollution. From the nine values of darkness, four values of darkness considered suitable for the site context located in the city center: Efficiency, Sustainability, Healthiness, and Happiness. These values relate with two aspects, energy and health Both efficiency and sustainability emphasize responsible way use of light, only put light where it is needed. Efficiency focused on money-saving and sustainability-focused on energy-saving and preserving non-renewable resources. These two values are considered a priority because Sudirman Street aimed to initiate a responsible lighting strategy for Jakarta. The other two values represent terrestrial value and atmospheric value. Healthiness is promoting and fostering human health, physiological well-being, and happiness is promoting psychological well-being. Connection to Nature and Wonder & Beauty will be communicated to the user through the Environmental Message. Three other values are Ecology, Heritage and Traditions, and Stellar Visibility, which are considered to have a weak relation with the site context. Based on site analysis and values of darkness, three main vision of the Responsible Lighting, Experience and Temporality, and Environmental Message. The first aspect of Responsible Lighting includes lowering the light level of the street. Although the light level is lowered, the contrast ratio should be maintained in order to keep the visual comfort and perception of safety for the user. In several areas, a large amount of excess light should be eliminated. The other aspect of responsible lighting strategy is to eliminate the negative impact of light on human health. The second strategy, Experience and Temporality, focused on creating a unique nighttime experience for the user of Sudirman Street. The unique experience is created by using a coherent lighting language for the whole street and adding temporality to the experience based on time, occupancy, and special occasion. This experience aimed to emphasize the new identity as the site of Urban Acupuncture for Darkness. Environmental Message strategy focused on the central area of intervention. In the main site, the installation will be used as a medium to educate the user regarding darkness preservation. This aimed to raise awareness in responsible lighting in an urban environment. This environmental message will be expressed through a lighting intervention in one of the pedestrian facilities, the bridge. This space is considered strategic for the intervention because it was made to become a futuristic icon of the street and succeeded in catching the public’s attention and became a focal point.
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Urban (Dark) Acupuncture defined by accentuating a strategic area in a city with darkness. The design proposal interpreted this concept by creating a multi-scaled intervention by using a layered approach. The intervention will be categorized into two different layers. The first layer is the pedestrian bridge, which became the primary intervention that creates an immersive experience of darkness and carries an environmental message. This area is chosen based on the site analysis, due to the potential to create a focused experience, the current role as the icon of Sudirman Street, and also the modularity as there are five of this bridges along Sudirman Street, allowing the experience and the message to reach more audience. The second layer of intervention aims to extend the intervention and experience in several strategic points along the street, which are landmarks, public spaces, and sidewalks. Therefore, pedestrian bridges became the main point of the Urban (Dark) Acupuncture in Sudirman Street, but the experience of Sudirman Street also can be seen as a whole, became the larger scale of Urban (Dark) Acupuncture. Based on the guiding vision and principles, five concepts have been created for the conceptual lighting design proposal: 1. Resembling the (Unpolluted) Night Sky 2. Dynamic and Responsive Lighting Experience 3. Interactive Social Spaces 4. Self-Glow Materials 5. Subtle Nighttime Characteristics of Landmarks. In the new design proposal, the elements of light will be defined into four different categories based on when the temporality: timebased, occupancy-based, interaction-based, environment-based, and 24 hours.
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Concept 1: Resembling the Unpolluted Night Sky
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Concept 2: Dynamic and Responsive Lighting Experience
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Concept 2: Dynamic and Responsive Lighting Experience
Concept 3: Interactive Social Space 16
Concept 4: Self Glow Materials
Concept 5: Subtle Nighttime Characteristic of Lighting
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02 SENSE
OF
LIGHT
AND
TIME
Daylighting and Artificial Lighting Design for Alsike Hotel, Sweden
Location: Alsike, Sweden | In collaboration with: Petra Koza, Maryam Kazemmidemneh | 2020 “Sense of Light and Time” is a project created for a studio assignment in the Light and Indoor Space Course in the KTH Architectural Lighting Design Master Program. The project aims to create a design proposal for the Alsike Hotel that consists of daylighting and artificial lighting strategy. Alsike hotel is mainly targeted to become a transit hotel for travelers or business people worldwide, as it is located near Arlanda Airport, Stockholm, and Uppsala. With this background, the design’s objective is to provide a place to stay and rest that consider the well-being and visual comfort and support the guest in adjusting with human circadian rhythm. The design, both the daylight and artificial light, aims to bring and enhance the sense of time into the architectural language and interior ambiance of the space by integrating natural and artificial light and explore the interaction between light and variety of form, and materials.
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D AY L I G H T I N G
DESIGN
On the daylighting concept, the sense of time is emphasized by bringing the light in through varieties of transparent surfaces and reflection, create opening based on sun movement, and the shadow created in the space. The objective of the design is to provide wellbeing and visual comfort, using transition and gradient as the design language, by working with daylight.
wel l bei ng
c i rc a d i a n rh yt h m tra n si t i on
g ra d i en t
d a yl i g h t
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v i su a l c omfort
Sun Analysis shad o w an aly s is - facad e
Shadow analysis mo d el s t u d y
Shadow analysis shad ow analysi s - on s i tfacade e Shadow analysis
Shadow analysis on facade
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North Facade in Summer
no rtNorth h - s Facade u m m e r in
21 June
21 June
Summer
sSunrise unrise Sunrise
sSunset u n s et
Sunset
2 1 Ma r
North Facade in Winter
no rtNorth h - wFacade in te r
in Winter
so utSouth h - sFacade u m m e rin
South Facade in summer Sunrise
sSunrise unrise
Sunset s u n s et
Sunset
2 1 De c
summer
21 March and sSunrise u n r i s e October
South Facade in Winter
so utSouth h - wFacade in te r
21 December
21 December
GSPublisherVersion 0.0.100.100
in Winter
21 March and October Sunset s u n s et
Sunset
Sunrise GSPublisherVersion 0.0.100.100
20 March 12:00 21 Mar 12. 00
2201 June J u n 112:00 2 .0 0
12:00
Daylight factor analysis
Shadows and Windows
sunlight analysis
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5th floor
north
2nd floor
5th floor summer solstice 5th floor winter solstice
2nd floor summer solstice
s outh
2nd floor winter solstice
5th floor summer solstice 5th floor winter solstice
220 1 December Dec 1 2 .012:00 0
12:00
sunlight analysis
Daylight factor analysis
The shadow analysis during summer is used as the basis to categorize the size of the window. It was divided into three different categories, based on the intensity of shadow in the areas. The areas that have the most intense shadow have the most significant size of the window.
20 December
2nd floor summer solstice 5th floor
20 June
12:00
2nd floor winter solstice 2nd floor
20 March
Materials for Facade
For the other parts of the facade other than the rooms, we decided to use a different scale of transparency, which decided based on the function. The facade first divided based on the proportion. Apart from the room windows, the facade categorized into four different types of transparency using transparent, translucent, and perforated materials that bring daylight into space in different ways. The material surface is determined by considering the interior function of the area.
Based on function analysis, the building’s facade is divided into four different sections: Perforated material, a combination between perforated metal and clear glass, a combination between shading and clear glass, and translucent glass. Perforated material will be used for the storage, as the second layer of the exterior wall. From outside, this part will seem solid, without connectivity between inside and out. On the stairs area, a combination between perforated material and clear glass will be used. The perforated material will bring the daylight into space and creates a small pattern of light and shadow on the floor and wall of the stairs area. The commercial sector will mainly use clear glass, but using layers of perforated material as shading, placed with some distance with the glass opening. This part of the facade will accommodate the restaurant and kitchen and private offices. The surface will be using a different scale of translucent material and transparent material. As it goes closer to the stairs, the inside space’s function is less private, and more public, the surface that is used gets more transparent.
1 2 3 4
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South Facing Rooms
North Facing Rooms
For the south-facing rooms, the reflecting surface will be used to bring more daylight inside the room. As the floor gets lower, the reflecting surface gets more significant, because the lower level needs more reflecting light due to obstacles in the surrounding area. The direct sunlight will enter through the skylight opening on the fop floor the reflected on the diagonal wall to bring more light for the corridor. The daylight will be transported until the ground floor through the opening in the corridor floor slabs. The light shelf will be used on the ground floor, reflects light to the ceiling and bring more light into the spaces. There will be a big opening to the courtyard in the offices and restaurants to emphasize the connection between exterior and interior. The windows’ size for the top floor and lower floor window will be varied in the south-facing rooms. The room in the upper level will have the possibility to stand in the window space, this high window aims to create a perception of extended space, functioned for enjoying the view to the courtyard. The window on the lower floor will have a larger reflecting surface, and this surface could also be used as a space for seating near the window. On the other hand, the north-facing rooms are not as exposed to the dynamic of direct sunlight. It’s rather would be exposed to static daylight. Therefore, these windows won’t have the same form as the one in the south. This window also has a reflector but placed horizontally in the building’s exterior to bring more daylight into space.
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Concept for Corridor Area The corridor’s concept is to emphasize the sense of continuity between spaces on different floors with daylight. The skylight on the top floor will bring in the daylight and direct sunlight, and reflected on the arch wall, and continue to transmit in each opening in the corridor floor until reaching the reception area on the ground floor.
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ARTIFICIAL
LIGHTING
DESIGN
The artificial light highlighted the temporality of space. The sense of light and time is translated into colors, light source angle, and light intensity. The interaction between light and different surfaces of material is used to bring color into the ambient of the space.
light -dark cycl e
ci rcadi an rh yt h m gradi en t
c ol or
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v i su a l c omfort angle
n a t u ra l l i g h t
Concept for Guest Room The lighting concept of the guest room is to have the guest experiencing changing light in the space that mimics the sun’s circular movements. It’s divided into six scenarios that represent each time of day. This scenario aims to trigger the user to have a healthier rhythm of activity according to the circadian rhythm. It alerts them to wake up in the morning and rest during nighttime. For the guest coming from the other side of the world, this aims to help recover from jet lag. Apart from light sources integrated with this scenario, there are also task lights that support specific activities. The light will mimic the sun, expressed with its color and position. The lighting scheme will begin with Sunrise, where the scenario softly alerts the user with a low level of cold light from in front of the bed. In the morning, the sun seemed to move upwards and comes from the middle of the ceiling at noon. As the day grows older, the light gets lower and ends at the night light located at the bedside. The placement of luminaires is divided into three-level. On the lower level, the luminaires are mounted at the bedside and tv table. The middle level has the lights integrated into the bedhead and the reflector wall behind the tv, and on the upper level, the light placed on the edge of the reflector wall and cove indirect ceiling.
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Lighting Scenario for Guest Room
1 . s u n r i s e
2 . m o r n i n g
3 . n o o n
4 . a f t e r n o o n
5 . s u n s e t
6 . n i g h t
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Lighting Calculation for Guest Room Sunrise Overcast Sky - Stockholm March 21st (Equinox) 06.00am Daylight Factor: 0.916 Average: 26.8 lx Emin: 0.55 lx Emax: 209 lx
Morning Scene Overcast Sky - Stockholm March 21st (Equinox) 09.00am Daylight Factor: 0.916 Average: 135 lx Emin: 1.54 lx Emax: 1090 lx
Noon Scene Overcast Sky - Stockholm March 21st (Equinox) 11.00am Daylight Factor: 0.916 Average: 306 lx Emin: 4.32 lx Emax: 3000 lx
Afternoon Scene Overcast Sky - Stockholm March 21st (Equinox) 15.00am Daylight Factor: 0.916 Average: 262 lx Emin: 5.46 lx Emax: 1186 lx
Sunset Scene Overcast Sky - Stockholm March 21st (Equinox) 18.00am Daylight Factor: 0.916 Average: 133 lx Emin: 1.69 lx Emax: 251 lx
Night Scene No Daylight Average: 9.9 lx Emin: 1.45 lx Emax: 16.1 lx
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Concept for Reception Area The sense of time in the reception area will be illustrated in the changing of color, intensity, and positions of the light source. In the morning, cold temperature light from the lower lever will be dominant. At noon, the light comes from the ceiling’s opening, emphasizing the daylight from a skylight on the top floor. The afternoon light will be in the arch, with a warmer temperature. In the sunset and night scenario, there will be a wall-washing effect on the wall. Unlike the bedroom, the reception’s scenario aims to have a more balanced intensity; the light level is maintained to accommodate activity for 24 hours. The reception desk will be the focal point in the area. The focal point has two different light scenes. During the day, the reception desk will be lit up, while during the night, the background is highlighted. The environment will give warmer ambient light in sync with the night scenario, while the reception desk will be lit with cold temperature light.
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Space Analysis for Reception Area
activity
viewpoint
viewpoint
surface
daylight influence
speed
slow moderate fast
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Lighting Scenario for Reception Area
1.morning
2.noon
3-4.afternoon - sunset
5.night
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03 CONVERGING THE
PA R A L L E L S
Redesigning the Entrance Area for KTH Royal Institute of Technology
Location: Stockholm, Sweden | In collaboration with: Emma Larsson, Maryam Kazemmidemneh | 2019 This project was created for a studio assignment in the Light and Outdoor Space Course in the KTH Architectural Lighting Design Master Program. The aim of the project is to create a new design proposal for the KTH Entrance Area. The area consists of KTH Entre Building, Main Building, Public Plaza, Public Stairs, and pathway to Metro Station. KTH Entrance Area has two parallel axes. The first axis starting in the metro station and ends at KTH Entrance. The first axis, characterized by a high level of light and vibrant activity. The second axis, surrounded by historical buildings and sculptures that were built in 1914. This axis used to be the main entrance to KTH. On the current condition, the second axis became deserted, and the heritage elements are losing their identity at night. The project’s vision is to improve the spatial experience by converging two parallel axes and creating a coherent lighting language in the KTH Entrance area.
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Based on the site analysis, the main issue found in the KTH Entrance area is that there are two parallel axes. The first axis is the practical axis located between KTH Entre and metro station, while the second axis is the atmospheric axis, situated between KTH’s main building and trees. The first axis has a higher light level and more activity, while the second axis has a much lower light level and rarely use by people. We also observed several facades in the area that enhances the character of the space. This space also has several points that are potential for social interactions. In terms of existing lighting conditions, we found that the light is too general and not giving enough guidance to the user. There is also a lack of human-scaled light. The light level between the first and second axis has a significant difference, creating an evident contrast between these areas.
The first strategy is to connect these two areas by perceptually extending the square in front of KTH Entre by utilizing light to converge the two axis, . Currently, the light level between KTH Entre and Main Building has an evident contrast. This strategy consists of adding ambient light and human-scale light to reduce the contrast in the area. This strategy will also mark the node, guiding people to make their choice to choose the practical route and the atmospheric route. The second strategy is to create an element that unifies the whole area, and the third strategy is to create an opportunity for nighttime activity.
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Circulation and Social Activity
Vertical Hierarchy
Light for Human - Light for Vehicle
Time of Light
On circulation and social activity, the strategy is to improve the spatial experience of the space by providing two different experiences for the user, focusing on two social spaces in the area. The approach will also differentiate light for humans, which will use a warm tone and light for a vehicle that will use a cold tone. The strategy will emphasize light on the vertical surface by using the hierarchy shown in the figure above. For the scheduling, there are several types of scenarios in the space. Light for circulation and facades will be lit up all night. Light for social activities will only be lit up until 9 pm, and some areas will have a possibility for dynamic scenarios.
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The new design proposal aimed to create a coherent lighting language by designing an element that unifies the KTH Entrance area. This element is inspired by oak leaves, which appeared in the KTH logo. Generally, oak leaves are a symbol of strength, morals, resistance, and knowledge. However, the meaning behind oak leaves in the logo remained a mystery. The mystery of oak leaves will become the element in the area that attracts users by enhancing a sense of curiosity. This element will be projected on the ground, scattered along the pathway, and then goes up to the KTH log on the main building facades. The light will provide high CRI to highlight the change of season. 39
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04 REVERSING
HIERARCHY
Lighting Design Intervention for KTH Architecture School
Location: Stockholm, Sweden | In collaboration with: Gemma Alcala, Sandra Sudhesh, Christofer Blixt, Andrea Salas Troncoso | 2019 This project was built as a temporary installation for the Urban Element Workshop as a part of the Light and Outdoor Space Course in the KTH Architectural Lighting Design Master Program. This lighting intervention located in an area that surrounds KTH Arkitekturskolan. According to the architect, Tham & Videgard, the new architecture school is inserted in the existing courtyard that surrounded by historical buildings made in 1914 by architect Erik Lallerstedt. We observed that the functionality of the KTH Arkitekturskolan Building has a dominant vertical hierarchy during space analysis. The lowest level of the building functioned as a wooden workshop, represents craftmanship. The medium level of the building is operated as classes and studios for students, while the highest level is for lecturers. This project aims to reverse this vertical hierarchy and enhance the spatial quality of the space. The lowest level illuminated with the most intense light, making it seemed to became the source of light for the whole building. This illustrated that craftmanship is an essence of architecture.
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We found that the existing lighting scheme is focused on lightening up the horizontal surface during site observation. We also observed that this space has an entirely different ambiance between day and night. With daylight, the color of the brick and corten steel material became the dominant element of the area, while at night, the building facades that surround the space appears as a dark silhouette. Several pole lights glaring the pedestrian walking in the area, making space look more ominous. Interior lighting of the architecture building also spilled light for the outdoor space. In terms of pedestrian flow, this area is quite deserted. Most people are using the pathway in front of the main entrance of KTH Arkitekturskolan. This space is used as a shortcut between Drottning Kristinas Vag and Osquars Backe Street. This area also became a service area for the loading dock and emergency exit.
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We aim to change the vertical hierarchy of the space. Reverse the order of the hierarchical structure but in a subtle way. The light appeared to come from below, spilling light to the building’s facade until the rooftop, creating a gradient. The color of light uses red and orange tones to enhance the color of existing material on the facades. The light surrounding the building uses blue color to make the color tone on the building appear as warmer.
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05 THE
SOURCE,
AND
THE
THE
CONNECTION,
ENVIRONMENT
Light Art Installation for Lights in Alingsas
Location: Alingsas, Sweden | In collaboration with: Cecilia Cronelid, Johanna Enger, Chia-Huei Lu, Selma Bouhnek, Siobhan Lawson, Josoria Mayer, Hamidreze Eiziadi | 2019 Lights in Alingsas is the largest lighting event in Sweden and Scandinavia, with approximately 80.000 visitors. This event involves internationally active lighting designers and a group of students, divided into several teams to develop a lighting concept for lighting installations. The process starts with a site survey, brainstorming, design development, experiments, and testing, and lastly, building the installation. The overall theme for Lights in Alingsas 2019 was “Be the Light.�
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The Source is located in the nature area of Nolhaga Park, just outside central Alingsas. A watercourse that surrounds the area. At one end of the watercourse is a spring that fills the canal with fresh water. This part of the site, like the entire installation, has been named The Source and it is also the visitor’s first viewpoint. Just beside there is a forest grove with various kinds of sparsely placed trees, which is surrounded by a walking path. This part of the site is called The Connection. It is the second viewpoint where visitors are also invited to wander around the area. The Environment is to be viewed from a distance across the canal. At the far end of the forest grove is the last viewpoint of the site, where trees and greenery are reflected on the water surface. The site represents a journey that is divided into three stations: The source is the beginning of everything. It is the source of the flow that gives energy and light to all living things. It also represents the beginning of the journey towards the unknown and what is yet to come. The Connection is a place where we both experience and become part of the energy. It is in the meeting with others that we can increase our awareness, and then together we emit more light. In the Environment, we can contemplate what has been since the beginning of the journey. Here we can see ourselves in a larger context both as a human being and as part of the universal cycle.
Written by Johanna Enger
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Photo by: Robert Persson
Photo by: Patrik Gunnar Helin
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Photo by: Patrik Gunnar Helin
Photo by: Robert Persson
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Photo by: Robert Persson
Photo by: Robert Persson
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+ 4 6 7 6 4 331892 | am i l a w an gi@gm ail. co m | dan ea. m ypo rtf o lio.com
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