Lighting the Heritage in Public Spaces: Universitarian City of Caracas (CUC) - Venezuela

Lighting the Heritage in Public Spaces: Universitarian City of Caracas (CUC) - Venezuela Beleuchtung von Baudenkmalen im Ăśffentlichen Raum: Universitadt Caracas (CUC) - Venezuela

Luis A. Villasana G. - 301567 Hochschule Wismar – Faculty of Architecture and Design M.A. Architectural Lighting Design (A.L.D.) Master Thesis 16-07-20 - Summer Semester 2020

Master-Thesis Lighting the Heritage in Public Spaces: Universitarian City of Caracas (CUC) - Venezuela Beleuchtung von Baudenkmalen im öffentlichen Raum: Universitadt Caracas (CUC) - Venezuela

1. Prüfer: Herr Blieske 2. Prüfer: Herr Römhild

Vorgelegt von: Luis Alfredo Villasana Gómez - Matrikelnummer: 301567 Geb. am: 05. Januar 1989 Hochschule Wismar - University of Applied Sciences: Technology, Business and Design Fakultät Gestaltung M.A. Architectural Lighting Design Wismar, den 16. Juli 2020

ABSTRACT

This Master Thesis researches the possibilities involving an architectural lighting design proposal mainly in the public areas of the Universitarian City of Caracas (C.U.C) – Venezuela, enlisted as a UNESCO World heritage, due to its outstanding value to the works of arts, urbanism and architecture capturing the essence of “The Synthesis of the Arts”. A research and site analysis will determine its value and current potentialities and weaknesses, where how a lighting design proposal could add an additional value not only to the C.U.C. but also to Caracas itself.

Keywords: Heritage, Architecture, Outdoor Lighting, Light Pollution, Well-being, Technology.

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ACKNOWLEDGEMENTS

This master's thesis would not have been possible if it were not for the help and support of all those mentioned in the following lines: To my beloved family around the world, including my parents, siblings, and close friends.

To the staff of the Central University of Venezuela, especially to the Preservation and Development Council (COPRED), including its director, architect Aglais Palau, architect Pía Rodríguez and other members of COPRED and the University City who facilitated my research process.

Similarly, to the professors of the Faculty of Architecture and Urbanism, including the landscape architect Glenda Yépez, the architect Pablo Molina Ríos and architect Pedro Luis Hippolyte. From the Faculty of Electrical Engineering, to Professor and Electrical Engineer Alexander Cepeda and to biologist Marijul Narváez, for their valuable contributions in my research.

And last but not least, my tutors and teachers Jan Blieske and Thomas Römhild, for their unconditional support and help in the distance, despite the pandemic and adversity.

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TABLE OF CONTENTS ABSTRACT ......................................................................................................................................................................................... 2 ACKNOWLEDGEMENTS..................................................................................................................................................................... 3 TABLE OF CONTENTS ........................................................................................................................................................................ 4 1. INTRODUCTION............................................................................................................................................................................. 8 2. HISTORICAL BACKGROUND ........................................................................................................................................................ 12 2.1) THE NEED FOR A NEW HOSPITAL, LEADING TO THE CUC’S CREATION ................................................................................ 13 2.2) HACIENDA IBARRA, THE LAND FOR THE NEW UNIVERSITY CITY OF CARACAS..................................................................... 14 2.3) THE VISION FOR THE CUC: THE NORTH AMERICAN CAMPUS AND GARDEN-CITY IDEA ...................................................... 14 2.4) A LATIN-AMERICAN EXAMPLE: LA CIUDAD UNIVERSITARIA DE BOGOTÁ (CUB) .................................................................. 15 2.5) THE ARCHITECT: CARLOS RAÚL VILLANUEVA (C.R.V.) .......................................................................................................... 16 2.5.1) LIFE AND LEGACY ............................................................................................................................................................ 16 2.5.2) VILLANUEVA’S INTELECTUAL EVOLUTION ...................................................................................................................... 17 2.5.3) THE SYNTHESIS OF THE ARTS AND THE MODERN MUSEUM IDEA ................................................................................. 18 2.5.4) THE TECHNNOLOGY AT SERVICE OF THE MAN ............................................................................................................... 19 2.6) THE CUC STAGES OF CONSTRUCTION .................................................................................................................................. 20 2.7) THE CUC AS UNESCO WORLD HERITAGE .............................................................................................................................. 23 2.7.1) THEMES AND VALUES ..................................................................................................................................................... 23 3. SITE ANALYSIS ............................................................................................................................................................................. 27 3.1) LOCATION ............................................................................................................................................................................. 28 3.1.1) SURROUNDINGS AND LIMITS.......................................................................................................................................... 30

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3.1.2) CLIMATE .......................................................................................................................................................................... 32 3.1.3) SUNPATH DIAGRAM ........................................................................................................................................................ 33 3.2) ACCESS AND CIRCULATION ................................................................................................................................................... 34 3.3) CIRCULATION: COVERED CORRIDORS ................................................................................................................................... 36 3.4) ZONING: CUC ENSEMBLE ...................................................................................................................................................... 38 3.4.1) MEDICAL ZONE ................................................................................................................................................................. 39 3.4.2) DIRECTIVE-CULTURAL CENTER ......................................................................................................................................... 40 3.4.3) ENGINEERING FACULTIES ................................................................................................................................................. 41 3.4.4) SCIENCES FACULTY & EDUCATION/ADMINISTRATION/LANGUAGE SCHOOL .................................................................. 42 3.4.5) FACULTY OF ARCHITECTURE & URBANISM ...................................................................................................................... 43 3.4.6) FORMER STUDENTS RESIDENCE BUILDINGS & CAFETERIA, BOOKSTORE ........................................................................ 44 3.4.7) FACULTY OF LAW, ECONOMICS AND SOCIAL SCIENCES .................................................................................................. 45 3.4.8) SPORTS FACILITIES ............................................................................................................................................................ 46 3.4.9) CAMPUS AND GARDEN AREAS ......................................................................................................................................... 47 3.5) CURRENT CUC SITUATION ..................................................................................................................................................... 48 3.5.1) CURRENT ARTIFICIAL LIGHTING IN CUC .......................................................................................................................... 49 3.6) HISTORICAL ARTIFICIAL LIGHTING IN CUC ............................................................................................................................ 58 3.7) LIGHT POLLUTION ................................................................................................................................................................. 70 3.7.1) LIGHT POLLUTION IN WILDLIFE & HUMANS ................................................................................................................... 71 3.7.2) HOW TO REDUCE LIGHT POLLUTION .............................................................................................................................. 73 3.8) LIGHT AND CRIMINALITY....................................................................................................................................................... 74 3.8.1) DOES MORE LIGHT MEANS SAFER PLACES? .................................................................................................................... 75 4. USERS SURVEY............................................................................................................................................................................. 78 5

4.1) SURVEYED USERS’ BASIC DATA............................................................................................................................................. 79 4.2) 1ST PART: GENERAL QUESTIONS ........................................................................................................................................... 80 4.3) 2ND PART: REFERENTIAL IMAGES OF LIGHTING SITUATIONS .............................................................................................. 85 4.4) ANALYSIS OF SURVEY RESULTS ............................................................................................................................................. 89 5. DESIGN PHASE ............................................................................................................................................................................ 90 5.1) GUIDELINES FOR THE CUC .................................................................................................................................................... 91 5.1.1) COPRED'S GENERAL GUIDELINES OF INTERVENTION FOR THE BUILDINGS OF THE UNIVERSITY CITY OF CARACAS...... 91 5.1.1.1) GENERAL GUIDELINES FOR THE INTEGRAL CONSERVATION OF THE HERITAGE OF THE UCV .................................. 91 5.1.1.2) TYPES OF BUILDING INTERVENTIONS .......................................................................................................................... 92 5.1.1.3) CLASSIFICATION OF BUILDINGS AND SPACES .............................................................................................................. 92 5.2) GUIDELINES FOR ILLUMINATION .......................................................................................................................................... 94 5.3) LIGHTING DESIGN ................................................................................................................................................................. 97 5.3.1) CONCEPT ......................................................................................................................................................................... 97 5.3.2) LIGHTING AREAS CROSS INFORMATION ......................................................................................................................... 98 5.3.3) CUC’S VISUAL TYPE LIGHTING HIERARCHIES................................................................................................................. 102 5.3.4). LIGHTING SCHEDULES: GENERAL ................................................................................................................................. 108 5.3.5) STREET LIGHTING: TEST CASES...................................................................................................................................... 111 5.3.6) CUC MAIN ENTRANCE ARCHES ..................................................................................................................................... 119 5.3.7) COVERED CORRIDORS ................................................................................................................................................... 122 5.3.8) GARDENS ....................................................................................................................................................................... 138 5.4) LUMINARIES’ ESPECIFICATIONS .......................................................................................................................................... 148 6. CONCLUSIONS........................................................................................................................................................................... 176 REFERENCES.................................................................................................................................................................................. 177 6

FIGURES SOURCE LIST ................................................................................................................................................................... 181 DECLARATION OF INDEPENDENT WORK ...................................................................................................................................... 184 APPENDIX

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1.INTRODUCTION The Ciudad Universitaria de Caracas represents a magnificent example of the Latin-American tropical modernity of the 20th century, which after more than 70 years of its first works of construction. Despite heavy obstacles and drawbacks, still survives today, promoting educational and universal values mandatory for Venezuelan society’s development. The need to adapt to the 21st century without undermining its historical values are key for its prevalence in future, and lighting could render an important role in that.

On this chapter will be exposed the background, motivation, problem statement, theoretical background, investigative objectives of the current architectural lighting design master thesis.

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technologies? How can CUC be sensibly enhanced through architectural lighting design?

1.1) BACKGROUND This master's thesis is a research in architectural lighting design, to help conceptualize a conscious lighting for the exterior areas of the Ciudad Universitaria de Caracas (CUC abbreviation in Spanish for Universitarian City of Caracas) pertaining to the Universidad Central de Venezuela (UCV abbreviation in Spanish for Central University of Venezuela), which since the year 2000 it is listed as a UNESCO World Heritage site due to its outstanding universal value.

1.2) MOTIVATION The motivation for this document stems from author’s curiosity on how a proper update and improvement can be done to the historical built heritage, represented by the CUC and where in each space there is an urban, architectural and artistic intention, in tune with the natural environment. And from the author’s point of view and interest, it is not given the right value or adequate artificial lighting strategy, currently not showing itself in a dignified way, not only as an example of Latin American modernity, but also, as a space that could provide an opportunity to see the good practices in the field of lighting design in Caracas, Venezuela:

Since its creation, the CUC has been one of the most important and largest centers of higher education studies not only in Venezuela, but in Latin America and the world, training professionals in different fields of study such as: medicine, pharmacy, dentistry, engineering, architecture, urban planning, economic, social and political sciences, etc.; all of this happening within the realms of the tropical environment and the so called modern movement in the heart of Caracas, were Its relevance is not only a mere aesthetic fact, but served as an action and testimony that sought to promote the development of Venezuelan society through architecture:

“The contemporary urbanism is a discipline that has as main objective the creation of the most harmonious social and biological environment to achieve physical and spiritual man’s wellbeing. Moral and ethical work more than just one of pure form.” 2

“Architecture is a Social Act par excellence, utilitarian art, as a projection of life itself, linked to economic and social problems and not only to aesthetic norms. (…) For this, the form is not the most important thing: its main mission: to solve human events.” 1

In that sense, this research is an effort to contribute to the process of architectural lighting design involving sensible subjects such as illuminating the built heritage and exterior lighting, were in both topics light and darkness plays an important role in providing a proper atmosphere and simultaneously contributing to the preservation and balance of the dark sky and night environment, in this case, of the CUC.

Moreover, light and shadow during daylight conditions has been a well-known aspect of the architect Carlos Raúl Villanueva’s vision for the CUC, where through architectural techniques involving natural ventilation and blending the inside with the outside changes through the pass of time. Nevertheless, very little is known about his perception for the artificial illumination and nighttime environment, besides the documents used for electrical installations explaining the original luminary’s location and technology used during the construction of the CUC.

1.3) PROBLEM STATEMENT With the pass of time, the university campus has been presenting different problems that are a reflection of the political, economic and social circumstances in which it is inevitably immersed. Population growth, theft, vandalism and budgetary problems have severely affected its facilities, and one of the most critical aspects being related to adaptation measures concerning artificial lighting, which have had a major impact on the way in which the place is perceived both day and at night, especially on its outdoor areas:

Therefore, certain questions arise as the author gets deeper into the subject: Is it possible to propose an architectural lighting design that could respect the built heritage, its historical legacy and can be adapted to the needs of the 21st century? How to know and approach the lighting situation and atmosphere of the first years of the CUC using historical data and current lighting 9

of the modern museum4 and the modern city5, being important to create hierarchical guidelines for lighting spaces and architectural elements.

“Currently the lighting situation in the CUC in public spaces is practically non-existent. (…) However, and despite the existence of the UCV Maintenance Directorate… and COPRED (The Preservation and Development Council of the CUC), both directorates technically supported by the academic staff of the EIE (School of Electric Engineering), the lighting system is currently, mostly, out of order.” 3

Depending on the case, materiality and the spatial and functional interactions, different lighting techniques must be applied taking into account the minimization of glare and light pollution, and at the same, time providing adequate levels of illumination to recognize elements in the nightscape, including other people, the latter responding to personal security reasons, very important for today’s people in Caracas.

Therefore, is it urgent to provide a unified lighting design solution suitable and respectful to the exterior areas of the CUC, since the current conditions are very precarious and this issue could contribute to the continuous degradation of the university’s duty while affecting its built world heritage outstanding universal values.

Finally, the CUC has an important natural reservoir of flora and fauna in its botanical garden, which serves as one of the few green spaces that exists in the heart of Caracas. Therefore, the choice of the type of luminaire, useful luminous flux, light spectrum, Correlated Color Temperature (CCT), light distribution, color rendering index, energy efficiency together with a lighting planning with established schedules for operation are key to minimizing the impact of lighting in the nightscape, contributing to achieve ecological needs for the 21st century.

It is worth mentioning that during the process of research and site visiting the author of this master thesis was affected by the curfew law that was a direct consequence of the Covid-19 outbreak in Venezuela, therefore, along with other limitations regarding further research on site, only a daytime site visit was possible and a corroboration of the existing luminaires was made, but unfortunately the nighttime visit and other on-site activities were not possible to make. Nevertheless, interview with personnel of the CUC, COPRED and EIE was made by telephone, e-mails and written messages, in order to ask for information regarding this matter.

1.5) INVESTIGATION OBJECTIVES Being a first attempt for an architectural lighting design concept, that could be suitable in terms of built heritage and exterior lighting through the review of historic and current documentation, in order to achieve a conscious use of current lighting technology.

1.4) THEORETICAL BACKGROUND To make an architectural lighting proposal for the CUC, it is essential to exhaust all research resources, in order to establish a first decision guideline for the lighting issues of its outdoor spaces. This is due to its duality in being an important center of higher studies with fully functioning public and cultural spaces, and at the same time, having a historical character with exceptional universal value that is represented in its urban and architectural conception with the integration of the arts across the university campus.

To help contribute to the topic involving lighting the built heritage and exterior spaces, by critically reviewing the standards found in current literature, understanding the site’s characteristics, the user’s needs, and translating them into lighting design in the CUC.

Therefore, there will be an overlap in the research and consultation of definitions in lighting for built heritage, outdoor spaces, parks and outdoor works of art, which from the Arch. Villanueva’s vision, represents the concept 10

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2) HISTORICAL BACKGROUND. As a way to comprehensibly understand the importance and value of the CUC, this chapter will explore the historical facts, concepts and ideas that led this university campus to become a built reality in Caracas - Venezuela.

Thus, the reasons for its creation and choice of the site, the theoretical basis used for the first ideas such as the North American campuses, the Garden City and the example followed from the Ciudad Universitaria de Bogotá (CUB abbreviation in Spanish for Universitarian City of Bogota), The architect Carlos Raul Villanueva brief biography, showing the evolution of his vision through the pass of time as the main intellectual responsible for the whole ideation of the CUC for almost 30 years, the CUC different stages of construction, “The synthesis of the arts”6 through the use of technology and artistic collaboration, and finally, its UNESCO world heritage nomination, criteria and values concerning the extent of this research, will be reviewed on this chapter.

All of this aforementioned literature and data serves to shed light and guidance for the upcoming chapters, concerning the site analysis, the lighting design proposal and conclusions for this master thesis.

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Similar situations occurred with the other faculties of the university, located in the old building called “Palacio de las Academias (Palace of the Academies)”, neo-Gothic in style and already showing signs of becoming too small for the growth of the university. The oil industry revenues and the political will to start modernizing and democratize the nation contributed to the beginning of the efforts for the construction of the new Universitarian City, and was triggered by the specific request made by the Minister of Health to President Isaías Medina Angarita of that time:

2.1) THE NEED FOR A NEW HOSPITAL, LEADING TO THE CUC’S CREATION. During late 1930s and after 27 years of dictatorship of the former ruler of Venezuela, Juan Vicente Gomez, Caracas was urgently needing a modernization of its hospital facilities, which until then were provided by the Vargas Hospital, principal medical center of the city and built during the late XIX century.

"The University City was born from a request made by the Minister of Health, Félix Lairet, to the President of the Republic for the construction of a new clinical hospital. Clinical means educational, that is, it should also serve to train doctors, so it was thought that if this hospital was to be built, the best thing to do was to get a large enough land to create the University City there. The Hacienda Ibarra, which was very large, was then bought in order to start the hospital. The study of the two most important institutes, the Anatomical Institute and the Experimental Medicine Institute, began immediately.” 7

Two reasons were given for that, one involving the rapid increase of Caracas population given the peasant exodus to urban areas that began with the discovery of oil during the mandate of Juan Vicente Gómez. The other responding to the need of updating the way of teaching medicine, where Vargas Hospital was also destined for medical practices of medicine students.

In both cases, showing signs of deterioration, outdated facilities and teaching methods, leading to the idea to build a new hospital for the city, then a Faculty of Medicine and finally a new headquarters for the Central University of Venezuela in order to improve its teaching structure.

Figure 2. Former Central University of Venezuela’s headquarters, known as “Palace of the academies” near Caracas center. Caracas, 1911.

Figure 1. Vargas Hospital Gynecology service. Caracas, 1911.

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2.2) HACIENDA IBARRA, THE LAND FOR THE NEW UNIVERSITY CITY OF CARACAS.

2.3) THE VISION FOR THE CUC: THE NORTH AMERICAN CAMPUS AND GARDEN-CITY IDEA.

When It comes with the designation of the land to establish what would be the new CUC, according to Dr. Armando Vegas7 (where he was part of the committee in charge for the CUC creation), there were three suggested places for the construction of the CUC. One of them, in the lands of the Hacienda Sosa, property of the nation and formerly owned by ex-president Juan Vicente Gómez. However, in the end it was decided that the land of the Hacienda Ibarra would be the most suitable for this purpose, since it had a more immediate relationship with the city center of Caracas.8

The idea pursued for the university of those years was ambitious. Not only the updating of knowledge was sought, scientific research and education of specialized professionals should be carried out as well. Thus, the idea of creating a city of knowledge, as an autonomous sovereign community, with well-demarcated limits and linked to the capital through well-defined accesses was always in mind, having all the necessary facilities for education, housing for teachers and students and other essential spaces for the flourishing of the arts and body’s cultivation.10

Dr. Armando Vegas refers to the choice of the Hacienda Ibarra in the following statement:

The idea of "(...) having a well-kept park with magnificent buildings spread all over it." 11 is nothing more than the union of the North American campus with the Garden-City ideas, framed in a previously established unitary plan. The national government of Venezuela asked to the Department of State of the U.S.A for the advice of an experienced professional on that subject: Dr. Frank McVey, president emeritus of the University of Kentucky.

"These lands meet the fundamental conditions for the construction of a Universitarian City: sufficient extension to project it as a Garden City (150 hectares including hills, 100 flat hectares), immediate and easy communication with downtown Caracas, ease of obtaining necessary drinking water and also the drainpipe; good orientation, beautiful panoramic view. It also forms, together with the Los Caobos Park, a vast green area, and with the Museums, the College of Engineers and future buildings of university extension, a nucleus of high rational culture.” 9

Dr. McVey was informed thanks to a report based on the university studies of that time and the project for the CUC that was already being carried out, which were presented by the commissioners of the Ministry of Public Works for the construction of the University City: Dr. Ing. Armando Vegas, Arch. Carlos Raúl Villanueva and Guillermo Umeréz.12 After visiting Caracas and the site with the ongoing works in 1943, Dr. McVey gave a detailed report with a series of recommendations for the proper development of the project, where he highlighted his inclination towards the Hacienda Ibarra as the definitive place for the project, the excellent performance of the designs carried out so far in terms of architecture and urban planning for the Universitarian City, the need to commit the Venezuelan government to assure the continuity of its construction in a reasonable time, questioning the current Venezuelan educational system and suggesting a reform that could optimize it. Finally, he suggested that the University should be autonomous and have an internal government.13

Figure 3. View of la Hacienda Ibarra towards Los Caobos Housing development in Caracas.

Circa 1940s.

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On October 2, 1943, after the presentation of Dr. McVey's report, and once his recommendations had been established, the President of the Republic Isaias Medina Angarita decreed the creation of the Instituto Universitario de Caracas (ICU abbreviation in Spanish for Institute of the University City), autonomous and with his own assets, linked to the Ministry of Public Works. 14

similar circumstances and the land being almost the same size: 140 hectares in Bogotá and 150 in Caracas, where although the Caracas area had a sector with considerable topography variation, the location with respect to the city and the surroundings was equivalent and the programs for carrying out the complex were similar.16 Upon returning from Bogotá, the commission made a report explaining its findings and learnings from the CUB and provide conclusions for the CUC. Among the most important conclusions, stands out the need to anticipate future expansions of buildings; the convenience of each faculty having a conference room; the importance of establishing an order of priorities in the construction of buildings, privileging those that provide common services, but very importantly, that the buildings form a "single architectural ensemble, which forces a single architect to plan or monitor the architecture of all of them.”17 This last observation, put into practice at least until Villanueva's death, allowed to maintain coherence and control for three decades, both of the nature of the buildings and of the entire complex as a unit.18

Figure 4. Example of North-American Campus - University of the Cumberlands, founded in 1888, Kentucky – U.S.A.

2.4) A LATIN-AMERICAN EXAMPLE: UNIVERSITARIA DE BOGOTÁ (CUB).

LA

CIUDAD

By the time it was decided to start building the CUC, in Colombia it had been approximately seven years since the construction of the CUB began; for which reason, the Board of Directors of the Autonomous Institute of the University City of Caracas appointed an expert commission to go to Bogotá and the site where the CUB was being built, in order to study the administrative, technical and teaching regime of that institution, which would serve to compare it with what was planned in Caracas.15 This commission was constituted by the Rector and Vice-rector of the time and the members of the Public Works Commission, Doctors Ing. Armando Vegas, Guillermo Herrera Umérez and the architect Carlos Raúl Villanueva.

Figure 5. Plan of the Ciudad Universitaria de Bogota by Arch. Leopoldo Rother.

Bogotá, 1939.

This visit was very useful since it allowed comparing what was being foreshadowed in Venezuela with the CUB in Colombia, both countries with 15

projects involving areas such as museums, education, medicine, hospitality, residential, dwellings, pavilions in international expositions and more. His intellectual character prevented him from ceasing to continue training and learning in the field of architecture, urbanism and design, where he was always in a constant search and updates for current architectural theories, concepts and trends worldwide, attending and also giving lectures in international conferences, speeches, conventions and expositions regarding architecture and urbanism.

2.5) THE ARCHITECT: CARLOS RAÚL VILLANUEVA (C.R.V.) 2.5.1) LIFE AND LEGACY. Born in London, May 30th, 1900; Carlos Raul Villanueva Astoul was the last of 5 children of Carlos Antonio Villanueva and Paulina Astoul. His father had various prominent positions within the diplomatic personnel of Venezuelan Government, being appointed as a general consul of Venezuela in London by 1896. He grew up in a European diplomatic environment, travelling between London, Spain and France, receiving his basic education in Paris.

All of these aforementioned conferred him a remarkable knowledge that made him part of the foundation of many important academic and public institutions in Venezuela, such as the Department of Urban planning of the Federal District in Caracas, the National Commission of Urbanism, the Atelier of Architecture of the Labor’s Bank, a founding member and first director of the Venezuelan Architects Society and one of the founding professor of the school of Architecture and Urbanism of the UCV in 1941, starting duties on 1944, firstly in the old building of the Palace of the Academies and later on the CUC after the completion of the new Architecture and Urbanism faculty building designed by him and inaugurated in 1957; teaching architectural design, city planning and History of Architecture until his retirement due to his decay in health in 1973, passing away in Caracas on august 16th, 1975. 19

Between 1920 and 1928 he studies architecture in the Ecole des Beaux-Arts of Paris, In Gabriel Héraud´s Atelier, where his older brother studied as well.

During his studying years he carried out various independent projects and he received his architect´s title on June 6th of 1928, from the Ecole des Beaux-Arts of Paris. During that same year he travels for the first time to Venezuela and also goes to the United States to work for a while in his older brother, Marcel´s architectural office.

On 1929, C.R.V. returns to Venezuela and starts working for the Ministry of Public Works as Director of Buildings and Ornamental Constructions. His first designs were commissioned in the city of Maracay, seat of the central power during the presidency of Juan Vicente Gómez, where he designed many public, military and dwelling buildings such as: Gran Hotel Jardín, Plaza Bolivar of Maracay, calvary Barracks and the Plaza de Toros (Bullring) César Girón. On 1933, he marries Margot Arismendi Amegual, where his father in law helps him to understand the local ways that will enable him to design modest income dwellings in some of Mr. Arismendi’s real estate developments. For seven months, between 1937 and 1938, C.R.V. carries studies in the Institute of City Planning of the University of Paris, fundamental for his acting as a professional urbanist.

From 1940, he starts working in the “Banco Obrero” (Labor’s Bank), institution dedicated to improve the conditions of housing of the labor and salaried class in Venezuela.19 From now on, C.R.V. will start a very fruitful professional career in Venezuela, where he will be able to develop a vast number of architectural

Figure 6. Architect C.R.V. during the construction of the Directive / Cultural Center of the CUC circa 1950s. Caracas - Venezuela 16

and getting contaminated by the place… the place and the contact with the vegetation influences him as an abstract principle.

2.5.2) VILLANUEVA’S INTELECTUAL EVOLUTION. "The architect, due to the historical evolution of his personality, the accumulation of traditions and experiences, has reached, as a social type, a level of consciousness so high that it prevents him from accepting a passive role in the cycle of the construction of space for man. (…) The architect is an intellectual, by training and function, He must be a technician, in order to realize his intellectual dreams, if such dreams are particularly rich, alive and poetic, it means that sometimes he can also be an artist.” 20

He also expressed many times his admiration to the works of architecture from Brazilian modern architects such as Oscar Niemeyer and Affonso Eduardo Reidy, claiming that Brasil is a place where architecture is made and the vegetation appears inordinately. 23 A meaningful example of his constant evolutionary vision in architecture and urbanism is synthetized in the CUC, where after 30 years of being in charge of the entire ensemble’s project, it’s the built testimony of his unstoppable search through time for a suitable architecture. The CUC with Its permanent design variation and how he started to blend the place, nature, the inside with the outside and the arts, into a city of light and color, in a university campus that serves as an experimental field for the modern and organic ideas of that time.

In his beginnings, his architecture was based more on the classical academicism and eclectic revivals that he learned at the School of Fine Arts in France, as can be seen in its early works in Maracay such as the Hotel Jardín and the Plaza de Toros.

Later on, he becomes more aware of the place and its traditions, where architecture must respond to them with a humanistic approach. Therefore, he begins to intertwine ideas of his eclectic formation and the vindication of colonial architecture, by adapting it to the climate and social environment using both colonial and modern architectural languages, as can be seen on the museums of sciences and fine arts designed by him on early 1930s.21 By the time the construction of CUC begins in 1944, he denies the organic unity of the architecture that precedes it, the connection between the parts and the whole. Thus, the contemplative reception of his first works will be replaced by the reception of the masses. It does not literally repeat the codes of international functionalist architecture, but tries to take advantage of the possibilities of the place, the geography, the climate, as well as the construction materials available in the region. It conceives architecture not only as art but as science, whose essential purpose is solid, comfortable and above all functional construction.22

Figure 7. The Evolution in architectural style of CRV through time. Upper left corner: Grand Hotel Jardin, Maracay 1930. Upper Right corner: Escuela Gran Colombia Caracas 1939. Lower left corner: School of Architecture and Urbanism Carlos Raúl Villanueva in CUC, 1960s.

Furthermore, ideas of organic architecture came to Villanueva after reading the book of Bruno Zevi “Know How to Look at Architecture”, were he starts to see the building as a complex organism that lives in the place, assuming another reality that differentiates completely from the academic one, starting to mix

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different expressions."6 This refers to the creation of an organism that is architecture, painting and/or sculpture at the same time, that does not contemplate indecisions or clashes with each other, where each artistic element has its value and must be irremediably visible.

2.5.3) THE SYNTHESIS OF THE ARTS AND THE MODERN MUSEUM IDEA. Following his intrinsic need to seek a better architecture, C.R.V. it is inescapably absorbed by the avant-garde movements of the early twentieth century, usually referred to as the pinnacle of the evolution of the arts, where it is proposed that arts should abandon their conventional formats and integrate into the space that man inhabits

This is evidenced in the CUC with the decisions taken by Villanueva to promote the creation of solid and empty spaces on the university campus, based on historicist, modern and organic guidelines that led to architectural living organisms that creates a strong interrelation with color and materiality of the murals, sculptures, and polychromies made by the artists who contributed to the CUC project, being considered as one of the most important examples of artistic integration and synthesis since Villanueva managed to build his aspiration for modern art, on a scale and quality that had rarely been realized, and that by 1954, the CUC already had more than one hundred works in all their extension.

On several occasions, Villanueva expressed his idea of how it is necessary to integrate the arts in architecture, since they represent a testimony of the cultural relevance of the time, and therefore, allowing to conceive a more humanistic space that would contribute to consolidate the utopia of a more equal and perfect world, sensitizing men through cultural means while fully live the spaces they inhabit daily: “Currently, within this synthesis, architecture, due to its adherence to functional themes, bears the responsibility of defining the generalities first, of outlining from the beginning the guidelines of the structure within which plastic events will take shape. (…) It is worth remembering with Michel Ragon that, just as lions should not be in zoos, so paintings and sculptures should not be kept in museums. (…) The natural environment of wild animals is the jungle. The natural environment of artistic works are squares, gardens, public buildings, factories, airports: all places where man perceives man as a companion, as an associate, as a helping hand, like a hope, and not like the withered flower of isolation and indifference.” 6

His constant updating led him the opportunity to work closely with many national and international artists, later becoming active participants in accomplishing his vision of the Synthesis of the Arts in the CUC. Miguel Arroyo, Armando Barrios, Omar Carreño, Carlos González Bogen, Pedro León Castro, Mateo Manaure, Francisco Narváez, Pascual Navarro, Alejandro Otero, Alirio Oramas, Héctor Poleo, Jesús Soto, Víctor Valera, Oswaldo Vigas, and the international Jean Arp, André Bloc, Alexander Calder, Wifredo Lam, Henry Laurens, Fernand Leger, Balthasar Lobo, Antoine Pevsner, Sophie Tauber Arp y Víctor Vasarely.22

Such significance in the synthesis and integration of the arts is due to its notable difference with the simple decorative fact, where, according to Villanueva: "Decoration is considered as an elaboration of surface, as an overlay, and as such, useless and even hostile to the purposes of architecture. ”6, While with artistic integration he defines it as: " the product, not only of the understanding of common purposes, but also of the necessary subordination between the

Figure 8. Examples of Synthesis of the Arts in CUC: Tierra de Nadie (No Man’s Land) and Main library building of CUC., library of the Engineering Faculty.

18

2.5.4) THE TECHNNOLOGY AT SERVICE OF THE MAN. Villanueva contemplated and in turn took full advantage of the technological advances of the time throughout his work, serving as an essential vehicle for to achieve his modern and organic vision for the CUC. An important aspect is the incorporation of the automobile in modern urban planning, where its appearance represents the milestone of modernity and one of the primary elements that help organize urban space. In the University City you can denote the three different accesses that serve both vehicles and pedestrians, connected through a network of streets and parking lots that serve them. However, it is important to emphasize that, in the urban proposal of Villanueva parallel to the streets and avenues of the CUC, pedestrian circulation was also prioritized, giving an emphasis to the automobile not as an element above man but at its service.

Figure 9. Left: The relationship between the pedestrian and the automobile in CUC. Covered corridor from Plaza Venezuela entrance to Tropical Medicine building, in reinforced concrete supported by one side.

Right: CUC directive Center, showing the noticeable reinforced concrete presence in the ensemble of CUC, allowing many different geometry relationships in the ensemble.

In addition, Villanueva made use of the most advanced construction technology of the time to be able to boldly pose and achieve the forms that denoted his architectural experimental intentions:

2.6) THE CUC STAGES OF CONSTRUCTION.

"I'm not attracted to closed systems. I am interested in all contributions. All the new forms and all the new content that they express. All the new constructive advances, from any part that come, constitute a stimulus for me. (…) I like the materials that, due to their poverty, their plebeian sincerity, allow me to challenge the stupid conceit of exhibitionism. Among them I am particularly attracted to reinforced concrete, symbol of the constructive progress of an entire century, rough, docile and strong as an elephant, monumental as stone, poor as brick.” 20

The CUC has the particularity that, during its construction for around 30 years and tutelage of Villanueva, there was never a final ensemble plan. This was due to the fact that, during the construction of the CUC, Venezuela underwent many changes at a political, economic and social level, which led to its construction being carried out in stages, and despite having undergone such drastic changes at high-level government, it mostly implied a positive contribution to the campus’ conception, since the postwar economic slack, along with the appointment of Villanueva as the main architect of the complex, gave free rein to his creative inventiveness, giving the campus the connotation of a living organism of infinite metamorphosis.24

The structures in concrete are noticeable in the covered corridors, auditoriums, workshops and other covered spaces throughout the complex, serving as a lesson in the boldness and formal, technological experimentation of Villanueva for the time, transcending from its structural function and becoming sculptures that formally characterize the space that build and form the whole CUC.

Therefore, within the research work of professor and architect Silvia Hernández de Lasala, in her book “En Busca de lo Sublime” (In search of the Sublime in Spanish), she contemplates the different stages at which the CUC was approached and under what guidelines was directed:

19

1943 – 1947: In the beginning, the ideas arising from the different professions involved in the ICU (Universitarian City Institute) were put into practice, where they worked as a team with doctors, engineers, lawyers and architects, and from which the ensemble emerged. The architect Villanueva only limited himself to conferring physical form to the ideas and decisions that were taken as a work group. A mainly academic conception of the whole is observed, despite the modern language of the buildings, where the East-West axiality and the close compositional relation of the unitary formal image, typical of the Ecole des Beaux Arts in Paris to dominate large scales is noted, handle the elements of the set as a whole

CUC ensemble drawing by 1947. Drawn by Sara Fishman

CUC ensemble drawing by 1943. Drawn by Sara Fishman

CUC ensemble drawing by 1944. Drawn by Sara Fishman 20

1948 – 1951: From 1948, the architect gained autonomy, his role became clearer and Villanueva assumed the task with respect and prudence. In the first plans of the complex, an ambiguous and complex attitude is observed at the same time towards the conception of urban space: more academic and marked by axiality in the central area of the complex, and freer and more modern in the periphery.

What happened in 1948 was that ambiguity was left behind: the academic conception was discarded and the path of modernity was chosen, clearly expressed in the project of the engineering faculty, where the academic conception with the East-West axis in the set is no longer valid for the architect.

CUC ensemble drawing by 1950. Drawn by Sara Fishman

1952 – 1953: The design of the heart of the CUC began around 1952: the set of buildings formed by the Central Library, the Aula Magna, the Concert Hall and the Auditorium, all relating to the Covered Plaza, which in turn links them to the former parking lot and now a Rectorate’s plaza, conformed by the Museum building, the Communications building and the Rectorate. It is here when the change of course of Villanueva was evident, assuming principles of organic architecture revealed through Bruno Zevi’s books. Its architecture became less fragmented than in the immediately preceding years, and started assuming the characteristics of a complex organism that lives in the place.

The Cultural-Management set constitutes the accomplishment of a search that had been carried out over time, where the architect achieved a complex architecture, fluid in appearance, and in turn, of great wealth and full of life, a place that seemed to fit to the place and the atmosphere that welcomes it, representing the values of that era through the CUC. The design of the complex that the Covered Plaza integrates shows a fundamental change of direction in architecture, but for the entire CUC, the great leap would come in 1954.

CUC ensemble drawing by 1949. Drawn by Sara Fishman

21

1954 – 1958: In 1953, the first covered corridors were designed and built, delimiting between clearly different areas within the CUC complex, such as the corridor that delimits the domain of the Faculty of Medicine with the Management Cultural center. The projects for the construction of the buildings of large faculties began, continueying with the use of high-rise prism building, being already used in 1952 with the deposit of books from the Central Library, the Faculty of Architecture in the Southeast sector of the campus, and the Faculties of Dentistry and Pharmacy, the great change of the CUC ensemble arises with the invasion of the central empty space, with the dependencies of the Faculties of Law and Humanities, conceived as a single set at low-rise buildings.

With this decision, it is once and for all about completely ending any vestige that remains of the old academic conception, governed by the East-West axis and the central void, Villanueva on countless occasions mentioned to his closest collaborators his discomfort with the axiality remaining from his early academic years, by which during this time he reacted with the desire to deviate and twist it, in order to replace it with the conception of a space that privileged the plot, the surprising change of perspectives and shadows, evidenced in the school of Humanities Law.

CUC ensemble drawing by 1962. Drawn by Sara Fishman

1975 – 2020: After Villanueva's death and pass of time, the idea of the living organism and its continuous transformation without a definitive ensemble plan was maintained; ocurring together with continuous and progressive deterioration of the buildings and open areas. The lack of maintenance, exacerbated by the growing population, an impoverished economic situation and the flooding of open spaces by provisional buildings has been a problem that has increased in the CUC up to this day, despite the efforts of COPRED.

1959 – 1974: During the sixties and seventies, the same organic and modern vision continued to be in force for the CUC, where it was seen as a living organism that evolves over time, changing and tranforming according to new requirements.

However, it is necessary to state that from 1958, with the overthrow of the military dictatorship that governed since 1953, the situation of economic slack was affected definetively, and the beginning of democracy in Venezuela marked the change from a situation of abundance for the CUC to a state of greater austerity.

After Villanueva's death, the Directorate of Planning, the body in charge of the CUC's fate at the time, and the Ministry of Public Works, contracted projects and built building without having a clear vision of the whole CUC. With the declaration of the UNESCO Cultural World Heritage in 2000, the CUC had a new possibility of creating a system that could help regulate it more effectively, hoping to preserve the ensemble in time.

22

2.7) THE CUC AS UNESCO WORLD HERITAGE.25 On 2nd December of 2000, the UNESCO World Heritage Committee decided to inscribe the Ciudad Universitaria de Caracas on the World Heritage List on the basis of Criteria (i) and (iv): Criterion (i): The Ciudad Universitaria de Caracas is a masterpiece of modern city planning, architecture and art, created by the Venezuelan architect Carlos RaĂşl Villanueva and a group of distinguished avant- garde artists.

Criterion (iv): The Ciudad Universitaria de Caracas is an outstanding example of the coherent realization of the urban, architectural, and artistic ideals of the early 20th century. It constitutes an ingenious interpretation of the concepts and spaces of colonial traditions and an example of an open and ventilated solution, appropriate for its tropical environment.

From the UNESCO website brief synthesis of the site, it is recognized that the university integrates a large number of buildings, art and nature into a clearly articulated ensemble, creating an open and dynamic space, where the art forms become an essential part of the inhabited place. complex constitutes a modern interpretation of urban and architectural concepts and traditions, incorporating patios and latticed windows as an appropriate solution for its tropical environment. Developed over a period of more than twenty years under the direction of Villanueva, the complex has undergone more recent changes as the University caters for an increased population.

CUC ensemble drawing by 1971. Drawn by Sara Fishman

2.7.1) THEMES AND VALUES During the research of this Master Thesis, the author was able to review closely the Ciudad Universitaria de Caracas – Format for the nomination of cultural properties for inscription on the World Heritage List 26; where as a justification for the inscription of the CUC, is showed the many different values and themes that exemplifies its outstanding characteristics as a work of Urbanism, Architecture and Art, supported by the texts and works of Villanueva during his time working on the CUC. Therefore, for the purpose of this paper, it will be expressed out only the aspects that could help to guide to a proper lighting design on the design phase.

CUC ensemble drawing by 1983. Drawn by Sara Fishman 23

A). URBANISM

interrelate, the amps and the staircases in the open air that cross spaces of various heights where forms and art works emerge making possible to be observed from different points of view, offering multiple experiences. All these spaces are illuminated differently during the day, therefore changing constantly.

A.1). COMPLEX MODERN. The Urban proposals of the International Congresses of Modern Architecture, CIAM, especially those developed in the Athens Charter as the consequence of the IV CIAM led by Le Corbusier, supposed a solution to the problems of the metropolis by means of a rigorous functional organization in which the different urban uses were separated and connected by circulation. The Ciudad Universitaria de Caracas exhibits a complex and rich interpretation of these propositions of the first decades of the century. It Is a city within a city, a close space representing the utopia of the modern city, isolated from the rest, separated by functions, where there can be distinguished different zones destined for different uses and areas of knowledge, connected by complex network of vehicles and pedestrian circulation (See appendix 1). Likewise, showing the Villanueva’s transformation in thought through time, were he went from a doctrinaire urbanism of the beginning of the XX Century into the idea of a more dynamic and complex city, where the vehicular and pedestrian circulation integrate into gardens and structures through an organic screen of uncountable relations, efficient in functional sense and spatial attractiveness.

“Changes Introduced in the image that one had of the physical world had modified our concept of spatial structure, but it was really the cubist revolution that taught architects the new way where a space in four dimensions is conceived and where they are justly represented by time.” 27 B.2) LIGHT. Light is a clue element in the creation of architectonic space. In modern space, the presence of natural light is essential for achieving the integration of the interior and the exterior. At the same time, its projection over the architectonic surfaces makes possible the achievement of a dynamic and changing space transforming through time. In his writings and in his works, Villanueva expressed the importance granted to light in the creation of the architectonic space, one of his main objectives. The spaces of the CUC reveal the attainment of this yearning. Through the hollow block murals of different forms, the patios, and the luminaires, Villanueva filtrated the intense light of the tropic reaching a great number of sensations, obtaining rich contrasts between the light and the shadows that contribute to the creation of those spaces integrated to the landscape and changing eternally.

B). SPACE: B.1) DYNAMIC SPACE: THE FOURTH DIMENSION. As part of the conception of space as the essential objective for architecture, is one of the main aspirations of modern art: The replacement of the static space proper of traditional perspective by a dynamic space in which the fourth dimension is introduced. Thus, time is understood as a fundamental variable for its total enjoyment and comprehension, in this way, translating scientific and philosophical theories of the beginning of the XX century into architecture.

The incorporation of temporal dimension in architecture was proposed by the plastic avant-garde movements, and specifically by Le Corbusier in the development of his ideas about the architectural promenade. Villanueva included this conception in his spaces of the Ciudad Universitaria de Caracas, which cannot be understood, nor fully enjoyed, if not in movement. The promenade across its gardens, its corridors, the multiple spaces that

“Space lives only under the effects of light, that gives space its own atmosphere, its dynamism, it makes space alive and existing. The sensation of space depends on its own decision, it’s thought, form, articulations are revealed to architecture.

Light should show and value the nature and organic unity of space and not destroy it, and spatial nature are altered and structure-space harmony is achieved.” 28 “Natural light, basic force and key point, is part of the created structure, it gives life due to its changing aspect; relieves and 24

forms are changed in their diverse angles. Light is what makes possible architecture being a plastic fact and when projecting on wall, a set of contrasting light and shadow is stablished that makes matter a dram and a passion.” 28

the sculptural structural forms, the construction, by the architect himself, of an artistic ideal world integrated to the daily life of Man. “To architecture, color is a so powerful mean, as water and the cut, and it is like Leger said, a natural necessity, like water and fire. With it, everything can be changed. It can be asked for tranquility or excitement, harmony or dispute. Miracles can be expected from color, as well as disasters. Color may destroy a wall, adorn it, go back-wards or forward, favor conditions of work or thought. With color everything can be changed.” 29 “Color, by its direct action on human sensitivity, favors the immediate comprehension of the exposed idea. It has the same virtues as sounds and like these, it has the same influences on human reflexes and its range is so wide as that of sounds, and it can be used likewise.” 29

Figure 10. The Covered Plaza in late afternoon hours, the sunlight comes through the hollow blocks giving a different atmosphere and sensation that is only perceived on this specific time. Furthermore, the different works of art makes a dynamic space that invites to be traveled through all the way. This can be experienced in many other places within the CUC. C.) THE INTEGRATION OF THE ARTS. C.1) COLOR. Organic integration of color in architecture forms part of the idea of the unity of arts as a way for the creation and characterization of space. When questioning the division between architecture, painting and sculpture, abstract arts proposed the inclusion of color, not as an ornamental attach, but as an inseparable part of the architectural conception. In the CUC the colored planes and volumes are not always murals or facades created by artists, many times they are products of decisions made by Villanueva when selecting the finishes of buildings. For example, the red mosaic façade of the Library tower or the orange mosaic triangles of the faculty of Humanity’s auditory. In this way, the presence of color is an integral part of architecture and is also, together with

Figure 11. The Library Deposit building in red, the Faculty of physics in grey tones, one of the types of covered corridors and the Architecture Faculty workshops in blue tones with its surrounding areas of greenery and gardens, around 1960s. Demonstrating the different colors and shades that can be found within the CUC. 25

26

3) SITE ANALYSIS The following chapter is intended to make an analysis of the current and historical conditions of the Ciudad Universitaria de Caracas, regarding its location, climate, access, zoning, and more specifically, in lighting and its related topics such as light pollution and criminality.

The information used in this chapter is mainly coming from the author’s research process, consisting on campus site visit, the archives of the CUC, documentation research, interview with personnel from COPRED, the faculty of Electric Engineering, maintenance, professionals and users in general of the CUC; covering different aspects to understand the University campus, specially, in lighting subject.

27

3.1) LOCATION The CUC is located in the Bolivarian Republic of Venezuela, specifically in the Capital District of Caracas, the largest, most populated and important city in Venezuela.

Caracas’ municipalities subdivisions CUC location San Pedro parish

Sucre

Libertador Baruta El Hatillo

General Data: Caracas - Population (2015): 3.273.863 - Density: 4489,4 inhabitants/km2 - Area of Caracas: 4.715,1 km2

Caribbean Sea

- Elevation: 900 m - Highest elevation: 1400 m - Lowest elevation: 870 m - Climate: Aw/As Tropical wet and dry climate (KĂśppen Climate Classification) - Time Zone: UTC -4:30 Ciudad Universitaria de Caracas:

Guyana

- Location: Libertador Municipality, San Pedro Parish, Capital District of Caracas.

Colombia

- Total area of CUC (Including Botanical Garden): 164,203 ha.

- Population: +50.000 (students), +20.000 (employees, professors., etc.), +150.000/day (users of the medical area of the CUC)

Brazil

28

(c)

a)

b)

d) Figure 12. a). Satellite image of Caracas, located inside a valley with mountainous range, hills and flat areas. In orange, the CUC location. b).

CUC satellite image, showing its boundaries with Caracas. c). Aerial view of CUC towards southwest, showing its entire campus, including the Olympic stadium and the Botanical Garden. d). View of Caracas towards North, with the mountainous range conforming the Warairarepano National Park.

c) 29

3.1.1) SURROUNDINGS AND LIMITS Cultural Center: Los Caobos Park, Plaza and Museum of Natural Sciences and Fine Arts and The Teresa Carreño Theater

The CUC limits are mostly well defined by its surrounding avenues, neighborhoods and highways; although, the most susceptible area is the one conformed by “La Charneca” neighborhood slum, since its nature of auto constructed solution, pose a danger for the botanical garden integrity if not custodied properly.

Venezuela Square (Plaza Francisco Fajardo Highway

Venezuela)

and

Rental Zone of CUC and Francisco Fajardo Highway.

Francisco Fajardo Highway

z Olympic and baseball stadium, building for parking and plaza.

La Charneca neighborhood slum

Las Acacias Neighborhood

Los Chaguaramos Neighborhood

30

•

Cultural Center: Conformed by an area integrating Los Caobos Park and a set of very important cultural buildings for Caracas. The Park was founded during Juan Vicente Gomez presidency in the beginning of the 20th century, and on its northwest most extreme portion are the Museums of Natural Sciences, the Fine Arts Museum and Plaza, all of them designed by the architect C.R. Villanueva. Moreover, next to the museums are the Teresa Carreño theater and the former athenaeum of Caracas, nowadays preceding the University of the Arts (UNEARTE).

•

Francisco Fajardo Highway: Is one of the most important vehicle communication elements of Caracas, connecting the west and the east of the city, serving as a main highway for other several secondary roads that goes through north and south. It was first inaugurated during the presidency of Marcos Perez Jimenez during the 50’s, and it had gone through several additions works during the 60’s, 70’s, and most recently, 2015.

•

center of the Greater Caracas Metropolitan District. This square was inaugurated in 1940 and is part of the El Recreo Parish of the Libertador Municipality. It is a pedestrian promenade and road distributor that houses several monuments, including a fountain with night lighting, promenade, the sculpture Abra Solar by Alejandro Otero, the Physiochromy tribute to Andrés Bello by Carlos Cruz-Díez which in turn serves as a framework for the statue of Andrés Bello. It gives access to other important places such as the Boulevard de Sabana Grande, Los Caobos Park, the Ciudad Universitaria, the Caracas Botanical Garden, the Twin Towers of Parque Central and the Boulevard Amador Bendayan.

La Charneca: Is one of the many auto-constructed slums that appeared as a direct consequence of the economic change from rural to oil activity, during the boom of the peasant exodus in Venezuela on the beginning and midst 20th century. Conformed mostly by people with low income that built their homes in reduced areas on the hills, in this case, the one adjoining the botanical garden’s land.

•

Las Acacias / Los Chaguaramos Neighborhoods: A middle-class neighborhood promoted during the late 40s of the 20th century, as part of the urbanization process for the areas on the outskirts of Caracas’ colonial center. Consisting mainly in haciendas that later became residential and commercial zones. Moreover, these areas have also a strong commercial activity that connects to the west of Caracas and further areas of Libertador’s municipality, including the promenade of Los Proceres, being an important civic-military node of Caracas.

•

Venezuela Square (Plaza Venezuela): Is located in Los Caobos neighborhood, on the east of the Capital District and in the geographic 31

•

Zona Rental (Rental Zone): Is a 108,545 m² commercial use plot located in El Recreo Parish in the Libertador Municipality, at the east of Caracas and in the geographical center of the Greater Caracas Metropolitan Area. The Rental Zone is part of the Sabana Grande commercial and financial district, according to the latest ordinance in force. Today, these are the only land available in the city for a largescale urban project and the Central University of Venezuela is its owner. Previously, the land of the Rental Zone belonged to the Instituto Ciudad Universitaria (ICU) and the Ibarra Family.

•

Olympic and Baseball Stadiums, Parking building for the stadiums and Plaza: The University Stadium of Caracas, is a multipurpose sports infrastructure, commonly used for practicing baseball, it has an exact capacity of 25,000 people. The Olympic Stadium is a multipurpose sport too, with a capacity for 20,900 spectators, both belonging to the CUC and serving as the two main sports facilities of the metropolitan region of Caracas. During the 80s, a major project was conducted in order to build an elevated plaza that could connect both stadiums, burying the avenue underneath while adding a four storey parking lot building for attendees of the events of the stadiums, which currently is also used by students and personnel of the CUC.

3.1.2) CLIMATE In Caracas, the wet season is muggy and overcast, the dry season is mostly cloudy, and it is warm year-round. Over the course of the year, the temperature typically varies from 17째C to 29째C and is rarely below 15째C or above 31째C. Based on the tourism score, the best time of year to visit Caracas for warmweather activities is from early December to late March.30

Table 3. Cloud Cover Categories

Table 1. Average High and Low Temperature

Table 4. Daily Chance of Precipitation Table 2. Average Hourly Temperature

32

3.1.3) SUNPATH DIAGRAM The length of the day in Caracas does not vary substantially over the course of the year, staying within 44 minutes of 12 hours throughout. In 2020, the shortest day is December 21, with 11 hours, 31 minutes of daylight; the longest day is June 20, with 12 hours, 44 minutes of daylight.30

Table 5. Hours of Daylight and Twilight

Table 6. Sunrise and Sunset with Twilight

Data provided by: https://gaisma.com

33

3.2) ACCESS AND CIRCULATION:

3 `

`

c

d `

2 ` a

1 `

Main Entrance Arches

b

Secondary / Service Access Streets / Parking lots Sidewalks / Footpaths Built elements / Buildings

34

1 Main Entrance Arch: University Clinic Hospital

2

3

Main Entrance Arch: “Las Tres Gracias”

CUC Main access are provided by arches of reinforced concrete with a small oblong cubicle at guardian’s disposition. From there, covered corridors, open air corridors, sidewalks and streets starts the circulation network through the CUC. It is worth mentioning that the entrance of “Las Tres Gracias” has nearby a subway station, which serves as a main communication node for students and users in general, making this one a very frequently used entrance, followed by “Tamanaco” entrance, which connects by foot and car to Plaza Venezuela. a.- Secondary access from Minerva avenue, being limited due to security reasons, only used by personnel of security and maintenance of the CUC. b.- Service access to the Sciences faculty parking lot, with a limited access permission. c.- Service access to the Materials Institute (I.M.M.E.) testing area. d.- Pedestrian access from the Plaza and the stadium’s parking building, widely used by students, professors and personnel of the CUC.

Main Entrance Arch: “Tamanaco”

Subway Station: Ciudad Universitaria

z

Figure 13. Concrete pouring for the arches of the CUC entrances. Original structural plan from August, 1953.

Archives of the CUC – UCV. 35

3.3) CIRCULATION: COVERED CORRIDORS

Type 1 Type 2 Type 3 Type 4 Type 5 Type 6 Type 7 Type 8 Type 9

36

\\\\\\\\\\\\\\\\\\\\

\\\\\\\

Type 1

Type 3

Type 4

Type 5

Type 6

Type 7

Type 8 (not Villanueva’s design)

Type 9

Type 1 (1953)

Type 2 (1946)

Type 3 (1953)

Type 4 (1949)

Type 9 (1953) Type 5 (1949)

Type 6 (1956)

Type 7 (1949)

Type 8 (70s-80s)

Figure 14. Cross section with human scale showing the different heights, shapes and sizes of the covered corridors found in the CUC, interconnecting the different buildings while providing coverage from weather conditions. Drawings provided by COPRED – UCV and human scale added by the author.

37

3.4) ZONING: CUC ENSEMBLE

Faculty of Architecture and Urbanism Bioanalysis Former Students Residence Buildings University Cafeteria & Bookstore

38

Medical Zone

Law / Social & Economical Sciences

Directive-Cultural Center

Service Buildings

Engineering Faculties

Sports Facilities

Sciences Faculty

Covered Corridors and Main Entrances

Education/ Administration/ languages School

Botanical Garden Area Campus & Garden Areas

3.4.1) MEDICAL ZONE Covered Corridors 3

Laundry, boiler room, services.

1.- University Clinical Hospital

2

2.- Anatomopathological Institute

4

3.- Tropical Medicine Institute

1

4.- National Institute of Hygiene 11

5.- Deanship Faculty of Medicine 6.- Medicine School, ambulatory

10 5

7.- Research Institute

6

8.- Dentistry Faculty 9.- Pharmacy Faculty 7

8

9

10.- Experimental Medicine Institute 11.- Anatomical Institute

Marking the beginning of the ensemble from its westernmost position, the medical zone includes the buildings in the field of health, where Villanueva's participation was mostly based on advice from other professionals in the beginning, following a more conservative and academic style. Later on, being able to opt for more modern guidelines of the 1950s, as can be seen in the faculties of dentistry and pharmacy. Still today, the University Clinical Hospital is a very important health center with high demand for the city of Caracas, and like other institutes, it receives daily thousands of visitors from patients to students. a).

View towards west, on the foreground the experimental medicine institute, in the background, the university clinical hospital. b). Deanship of medicine. c). Building of the Faculty of Dentistry with mural of Omar CarreĂąo on west and east facades. d). National Institute of Hygiene. e). Main entrance of Anatomopathological Institute. f). Pharmacy faculty building with mural of Alejandro Otero.

a

b

c

d

e

f 39

3.4.2) DIRECTIVE-CULTURAL CENTER 1

1.- Rectorate’s Plaza 2.- Clocktower

3 4

3.- Museum’s building

5 7 6

4.- Communications building 5.- Rectorate Building 8

9

Conceived as the heart of the campus, the directive-cultural center while owning the directive dependencies of the CUC (Rectorate building and Students Services), it promotes the conservation and diffusion of knowledge (Museum, Reading room and Central Library building) and culture (the Aula Magna, Concert Hall, Sculptures and works of art in the Covered Plaza), acting as an unity by interacting permanently. Most of the times, is referenced as the climax of the ideals of modernity and the synthesis of the arts. a). Aerial view towards southwest of the Rectorate’s plaza, displaying the Clocktower, museum, Rectorate and Communication’s buildings. b). Southwest view of “Tierra de Nadie” (No man’s land), the Aula Magna, the Concert Hall, the Reading Room and Central Library building of the CUC. c). Mural of Oswaldo Vigas on East façade of the Communications building. d). North façade view of the Paraninfo, displaying a mural of Mateo Manaure. e). Partial view towards east of the outer side of the Covered Plaza, displaying a bi-mural of Mateo Manaure, in the background, the outer reinforced concrete structure of the Covered Plaza and Aula Magna. f). Covered plaza showing Henri Laurens “Amphion” sculpture, in the background, a partial view of a bi-mural of Fernand Leger. g). Covered Plaza interior view with a mural of Pascual Navarro in the background. h). Clocktower view towards north, in the Rectorate Plaza.

Covered Corridors

2

6.- Paraninfo/auditorium 7.- Covered Plaza 8.- Aula Magna theater

10

9.- Concert hall 10.- Reading room and Central library building

000 a

c

b

e

f

d

g 40

h

3.4.3) ENGINEERING FACULTIES 2

1

Covered Corridors

3

1.- Petroleum chemistry and geology 2.- Library and auditorium

4

5 6

3.- Basic engineering building 4.- Deanship faculty of engineering 5.- Engineering laboratory 7

11

14

13

12

10

9

8

6.- Electrical Engineering school 7.- Chemistry laboratory 8.- Materials Testing 9.- I.M.M.E. models and materials 10.- Hydraulics 11.- Sanitary engineering faculty

12.- Mechanical and chemistry engineering. 13.- Mechanical engineering. 14.- Metallurgy engineering school

The low-rise Engineering building ensemble clearly shows the modern guidelines and the search for artistic integration in architecture, the color and materiality stands out giving its characteristic vitality and dynamism both in facade and within the ensemble, responding to the tropical environment and fitting within each other by the open spaces and the network of covered corridors, being the "Engineering Corridor" a very frequented one by students and residents of Caracas, looking to purchase books and study material in general. a). In the foreground, the engineering library with a mural by Alejandro Otero, on the background, the basic engineering building. b). Façade of the Electrical Engineering school. c). Partial aerial view towards the west of the Engineering complex. d). & e). Partial views of Geological, Petroleum and Chemical Engineering building’s façade. f). Partial view of Engineering Laboratory building. g). West view from vaulted Engineering corridors, the Engineering Deanship building (Not Villanueva’s project) on the right, and Geological, Petroleum, and Chemical Engineering on the left. h). Engineering Corridor.

a

b

c

d

e

f

g

h

41

3.4.4) SCIENCES FACULTY & EDUCATION/ADMINISTRATION/LANGUAGE SCHOOL Covered Corridors 2 ` `

2.- Chemistry school of sciences faculty

1

`

3

1.- School of accountancy, administration, languages and education (provisional building) 3.- Classrooms building of sciences faculty

6

4.- Physics and mathematics

5

5.- Sciences faculty laboratories

4

6.- Tropical Zoology

The Sciences Faculty was formerly known as the Industrial Technical School (ETI) which also used to have Student’s Residence buildings. With the Medical Zone, this area was also the first ones to be built from the ensemble, hence, showing a more academical style in their architectural elements, however,

a

d

starting to show a more asymmetrical disposition on its urban configuration, while creating open areas between the buildings and blurring the limits between the inside and outside. it can also be seen the incipient integration of artistic elements over the architectural ones. Moreover, the colloquially known “Transbordo (Transfer) Building” was built during the late 70s as a provisional building for classrooms to the accountancy, administration and language schools. Still today, being an element that has not been solved, the building has not much relationship to Villanueva’s original guidelines. a). Sciences Faculty Laboratories building, mural in Façade by Mateo Manaure. b). Corridor in classroom building. c). Halls and ramp in façade of Sciences Faculty building. d) & e) Interior patios between the classroom and laboratories buildings of Science Faculty. f). “Transbordo” (transfer/provisional) building main entrance, currently holding the Education, Administration and Accountancy schools.

b

c

e

f 42

3.4.5) FACULTY OF ARCHITECTURE & URBANISM Together with the Central Library, Pharmacy, Dentistry and Economics, the Architecture and Urbanism Faculty building adopts the high-rise model for classrooms and a large ground floor open area to accommodate the workshops, ateliers, auditorium and other dependencies of the school, being representatives the murals of Alejandro Otero with the shades of blue in the tower’s and outer walls of the workshops façades, in tune with the dynamism of the modern tropical architecture of that time. During the 80s, the parking lot was replaced by a garden area. a). North Façade of the building tower of Architecture and Urbanism Faculty. b). North façade of ground floor workshop areas. c). type 4 corridor bordering with ground floor workshop areas, displaying mural of Alejandro Otero with black and white stripes pattern. d). West façade of the Faculty, displaying the characteristic blue pattern mural of Alejandro Otero. e). South façade of workshops in ground floor showing a blue pattern finish. f). View of showroom and building of Architecture Faculty towards northwest, displaying the Alejandro Otero black and white stripes mural.

Covered Corridors

1

1.- Workshops in ground floor 2.- Architecture and urbanism classrooms building 3.- Auditorium 4.- Architecture’s Library and showroom

2 3 4

b

a

c b

d

c

e

f 43

3.4.6) FORMER STUDENTS RESIDENCE BUILDINGS & CAFETERIA, BOOKSTORE 5

2

1

Formerly conceived as Student’s Residence buildings, they currently serve as educational buildings, classrooms for schools in the fields of Economics, Social Sciences and others, responding to the lack of space and infrastructure to accommodate them inside the CUC. They were designed during the Villanueva’s intermission between the academy and the modern guidelines, where its academic architecture melts with the irregular urban disposition, allowing to make an organic dynamism that helps to shape part of the university campus.

These, in combination with the Bookstore (now a library for the school of social communication), Cafeteria and the Sport Facilities conform an area destined to serve to the student’s well-being. a) & c). South façades of former Student’s Residence building nowadays. b). North façade of the Social Communication School. d). View of Cafeteria in ground floor of former Student’s Residence building through the green area known as “Bosque de Tierra de Nadie” (No Man’s land Forest). e). Southeast view of Universitarian Cafeteria. f). View of entrance of the Cafeteria. g). Entrance of former Bookstore and now Library for the Social Communication school. h).

Southeast façade of former Bookstore.

4

3

7

8 Covered Corridors

6

7.- Cafeteria

1.- Economics Research Institute

8.- Bookstore (now library for 3.- Social work, nutrition and diet schoolthe social communication 4.- Social communication school school) 5.- Arts school 2.- Sociology school

6.- Statistics school

b

a

e

c

f

g 44

d

h

3.4.7) FACULTY OF LAW, ECONOMICS AND SOCIAL SCIENCES 1

2

4 3 Covered Corridors 1.- Economics Building 2.- Economics Auditorium 3.- Faculty of Humanities and Faculty of Political and Legal Sciences 4.- Auditorium of Faculties of Humanities and Law

a

e

The Faculty of Humanities, Political and Legal Sciences is one of the great examples of Villanueva’s modern tropical architecture, the low-rise building interacts to the exterior in a way that, if wanted, classrooms can be completely open to the gardens and covered corridors areas. And from the ensemble’s point of view, is often referred as the final statement of Villanueva’s complete break-up to any academic vestige, solidifying his organic, colored and tropical ideals on the CUC. On the north side and one of the final buildings to be designed during Villanueva’s era is the faculty of economics, which adopts the high-rise model with a big auditorium in the back, bordering to “Bosque de Tierra de Nadie” (No Man’s Land Forest). Due to the end of the CUC's economic abundance, this building follows a more austere aesthetics guidelines regarding the integration of works of arts and tries to maximize its resources to respond to the need for a Classroom building. a) & b). Classrooms panoramic doors in north façade of Faculty of Humanities and Political, Legal Sciences. c). One of the entrances in the south facades to the Faculty of Humanities and Political, Legal Sciences. d). One of the Internal gardens in the Faculty of Humanities and Political, Legal Sciences. e). West entrance to the Faculty of Humanities and Political, Legal Sciences, in the bottom, its Red Polygonal Shape Auditorium. f). South west façade of the Auditorium of the Faculty of humanities and Political, Legal Sciences g). West façade of faculty of Humanities and Political, Legal Sciences, showing the Covered Corridor Type 5, on the left, the building of Economics. h). In the foreground, the Auditorium of the Faculty of humanities and Political, Legal Sciences, On the background, the Economics Faculty building.

b

c

d

f

g 45

h

3.4.8) SPORTS FACILITIES 2 3

5

4

a

With the Sports Facilities buildings, Villanueva probably made one of the most audacious and defying 2.- Sports Management Building experiments with reinforced concrete, where he dares to create folded structures that followed his dynamic modern style, giving a sculptural value to the architecture’s elements, while providing a 3.- Olympic Stadium cutting-edge solution for the cultivation of the body. With the pass of time, many other sports courts 4.- Court of Honor. Tennis have been placed all around the CUC campus, implying only pavement and light-structures like 5.- Baseball Stadium infrastructure, without a significant architectural value, responding only to the need of supplying more sports courts to the increased population of students. a). West façade of the Sports Management building. b) & c). Southwest view of pools in the foreground with reinforced concrete grandstand on the background. d). Southwest aerial view of the baseball and Olympic Stadiums, with the Plaza, Parking Lot building and Tennis Honor Court. e). View of Sculpture “The Athlete” by Francisco Narvaez in the foreground, on the background the west façade of the Grandstand Structure of the Olympic Stadium. f). West façade of the Tennis Court’s reinforced concrete grandstand.

1.- Pools

1

b

d

c

f

e 46

3.4.9) CAMPUS AND GARDEN AREAS

1

4 3 2

a

e

The University Campus and Gardens constitute the most extensive 2.- Gardens and paths of areas of the CUC, contributing to its integration with the natural Engineering, Humanities and landscape of Caracas while providing the opportunity for multiple open Law faculties. spaces for social interaction and observation of the CUC’s architecture 3.- Tierra de nadie (No Man’s and works of art. Many areas are considered part of the Campus and Land) Gardens, nevertheless, four of them, shown in the graphic on the left, 4.- Medicine Garden 5.- Bosque de Tierra de Nadie are widely known for their extension and connectivity through other (No Man’s Land Forest) areas. Currently, the lack of proper maintenance of these spaces, vandalism, and conditioning for day and night use make these areas less and less visited, moving away from their ideal function as exchange and interaction of ideas. a). No Man’s Land towards southeast. b). No Man’s Land towards North. c), d) & e). Different views of No Man’s Land Forest area. f). “Palmetum” area next to Economics Faculty building. g). View of Medicine Garden towards northeast. h). Garden in Architecture and Urbanism faculty.

1.- Architecture Garden

5

b

f

c

g

d

h 47

appearance of some buildings in the CUC, primarily by mechanical, ventilation and artificial lighting systems.

3.5) CURRENT CUC SITUATION The UCV, known as “La Casa que Vence la Sombra” (The House that Overcomes the Shadow) is struggling to keep his motto alive. On recent years, the political and economic crises in Venezuela have hit hard in the budget allocation for public universities, where besides affecting the salaries of employees, professors and researchers, the infrastructure suffers from deterioration caused by the pass of time and the lack of maintenance required, notoriously affecting the physical, educational and human integrity of the ensemble. "...this heritage is in danger and forsaken. For its conservation, no specific budget is allocated nor was a government foundation created. It happens that it is the State itself that must ensure their physical security and does not do so.” 31 According to the Architect Aglais Palau32, current director of COPRED (the Preservation and Development Council of the CUC, created in the year 2000, after CUC’s designation from UNESCO as a World Heritage Site), said that despite the critical conditions, it has been possible to carry out some repair and maintenance works in certain areas, however, the budgetary problem has been the main impediment to continue for meeting all the preventive maintenance, cleaning and security measurements, vital to preserve the campus integrity.

a

“…Given this reality, the abstract mosaics that converge in gardens, ceilings, walls and windows, some conceived by Oswaldo Vigas, Alejandro Otero, Pascual Navarro, Mateo Manaure, Víctor Vasarely, and Armando Barrios seem to be condemned to wear and tear by the sun, the rain and carelessness.” 33

b

c Figure 15. a). Façade of Faculty of Architecture and Urbanism, fallen mosaics from the mural. b). Damaged grass by users in medicine garden. c). Accumulated weeding remnants in Medicine faculty, and inadequate mechanical installations. d).

Metal Halide projector lamp installed on the top of the auditorium of Humanities faculty.

In response, each faculty and school often tries to find a solution by their own, cleaning and maintaining their respective areas with voluntary work; however, in very large green areas it’s difficult to make appropriate weeding, and they end up being hostile places that people tend to avoid, occurring vandalism, robbery and other criminal acts. In addition, the lack of supervision while implementing interventions looking to improve the current operational capacities of certain areas, has also affected the internal and external physical 48

d

3.5.1) CURRENT ARTIFICIAL LIGHTING IN CUC Good artificial lighting in public spaces is determinant for the correct use and safety for users after sunrise. In the case of the CUC, it acquires another level of complexity due to its educational, cultural and historical value in architecture, urbanism and works of arts.

Therefore, it is important to understand the current and historical lighting fixtures conditions, and moreover, research about further illumination intentions, regarding the required amount of lighting on a certain area during that time. Therefore, on this section the author will show the general conditions of artificial lighting in the university campus based on his site visit and interview with professionals in the area. Later on, comparing it with its original conditions, through photos and further historical documentation.

a

A). -STREET LIGHTING: The current street lighting in CUC comes from a technological update that was carried out on the beginning of the year 2000, replacing the original light poles and using as a starting point the regulations in force of the Caracas Electricity Company (EdeC), a private equity firm that used to own the monopoly of distribution and commercialization of the electric the energy in Caracas, and now owned by the state and re-named Corpoelec.3 The new poles were replaced basically by two types: The first type is a single light pole placed adjacent to the perimeter curb of the road, with two opposite horizontal lamps at different heights, initially, 400W – E40 metal halide bulb for lighting the road and 250W – E40 high pressure sodium vapor for the opposite side of the road, usually sidewalk or open air. The second type is a double arm pole of 12 m height with identical luminaries on their opposite sides, 400W E40 metal halide light bulb, usually placed in the island’s curbs dividing the roads. The same type of light poles applies for the parking lots in the CUC.3

b Figure 16. a). Street view with the single light pole adjacent to the curb, double light pole in the background and monolith luminary adjacent to the curb, b). zoom in on the street light pole. c). Original single light pole in the small parking lot area near to the central library building. Photos taken on site by the author, 05/03/20.

After the technological update, some representative original light poles were left, placed in specific areas of the university; for instance, on the gate leading to the of the Clinical Hospital or the parking lot in front of the central library, as a testimony of the past technological system.

49

c

B). -EXTERIOR LIGHTING

stolen or vandalized, enabling to illuminate the areas required. Floodlights are also often used to illuminate monuments and works of art in the CUC.

For the purpose of this paper, the Exterior lighting in the CUC will be catalogued on two categories: luminaries on the open-air spaces and luminaries that are under covered roof but considered an exterior area. (for instance: covered corridors and the main entrance arches).

These luminaries can be seen in most of the buildings of the CUC, such as in the Rectorate’s Plaza, on the top of Aula Magna pointing to No Man’s Land, Architecture and Urbanism Faculty, Engineering, Medicine, Laws and Humanities and more; being difficult to estimate the power of each, but by the site visit and pictures, assuming they are pertaining to the Metal Halide or other HID technology (See figure 19).

B.1) – Open-air spaces luminaries: These are the ones in the campus, plazas, gardens, open-air walk paths and attached to the buildings in some way. During the site visit, it was clear that there was not a unity regarding an illumination solution for the campus exterior areas.

Regarding the big garden areas, such as the one in No Man’s Land forest or the Experimental and Anatomical Medicine Institutes, only a few of commercial light poles with white translucent glass and no clear design layout were seen, using 100W-200W incandescent bulb or 18W – 26W CFL bulb. Moreover, it was found that many of those lamps were vandalized, missing some parts or broken with exposed parts to the exterior, assuming that most of them could be out of service (See figure 20). Besides this luminary, it was also noted that in some specific areas are used single pole luminaries, such as the ones used in street lighting, or, the representative historical pole luminary. (See Figure 20).

The only known lighting element designed for exteriors and still survive today are the well-known “Monolitos” (monoliths), consisting on low rise precast reinforced concrete elements with a curved inverted L shape, located in the areas of No Man’s Land and the avenue separating the directive-cultural center with the covered corridor type 3, usually placed over the perimeter of the walk paths and roads bordering the greenery (See Figures 16 and 17). These elements use approximately 1 fluorescent tubes of approximately 20W.3 On the rest of the ensemble, many different luminary types were spotted on open-air spaces. One of them being usually attached on the top of buildings of maximum 3 storeys height, such as the ones on the engineering faculty and the reading room in the central library building; consist on a single arm element with a downlight lamp to illuminate the areas beneath using the same lamp technology as in street lighting: 400W – E40 metal halide bulb or 250W – E40 high pressure sodium vapor (See Figure 18).

B.2). – Luminaries under covered spaces: On this case, mostly all of the covered corridor where originally designed to have the luminaries inserted inside the concrete slab, using typical E27 incandescent bulb, being the distance and the number of luminaries dependent on each specific type of corridor. Many of the luminaries on the corridors are not presenting their original conditions, mostly, being stolen, damaged or replaced by other type of lamp. For instance, in a very large area of the corridors type 5, the original recessed luminaries were replaced by surface mounted fluorescent tube lamps.

This decision proved to be an inadequate decision since it damaged the corridors appearance and the concrete’s surface by drilling in order to mount the lamp on their concrete surface. Nevertheless, in many of the covered corridors and the covered plaza, the original lamps are still on their place, having a mixture of E27 incandescent bulbs of 100 to 150 W, or CFL bulbs of 18W to 26W, the latter being a very popular option for its economy (See Figure 21).

Also, many types of high-power projectors were detected, placed on the top of many buildings of the CUC and pointing down to ground level. After some research about the reason behind this, it became known that due to the lack of maintenance of the street lighting and covered corridor luminaries in the ensemble, each faculty and school looked individually for alternative and fast solutions to illuminate the areas surrounding their faculties, hence, they opted to use high-power projectors and direct them downwards, from the top of the buildings or higher places, hindering the possibilities of the luminaries to be

50

Figure 17. Monoliths luminaries in No Man’s Land. Photos taken on site by the author, 03/03/20.

See Appendix 2 for Original Plans.

51

Figure 18. Some examples of the single arm lighting elements attached to the top of buildings, from left to right, Faculty of Engineering and reading room building on central library, zoom in of the luminaries. Photos taken on site by the author, 05/03/20.

52

b b

aa

c

c

Figure 19. Some examples of high-power projector’s lamps that can be found among different areas of the CUC. a). Aula Magna building, projectors pointing to No Man’s land. b). Former Student Residence and now Bioanalysis school, pointing towards the garden conforming the Forest of No Man’s land, still turned on during daylight conditions. c). Faculty of Humanities and law and political sciences. Photos taken on site by the author, 05/03/20.

53

Figure 20. No Man’s Land Forest, Surroundings of the ports Management building and the garden of Anatomical and Experimental Medicine, showing some of the commercial light poles with white translucent glass cover, most of them out of service. Picture a). taken by the author on 05/03/20.

54

a

b

a

c

Figure 21. Covered Corridors type 5 (picture a), 3 (picture b) and 4 (picture c), respectively. Showing the current conditions of most of them in the university, presenting inadequate replacements, vandalism, damaged or lack of maintenance.

Photos taken on site by the author, 05/03/20.

55

C). – NIGHTTIME SITUATION: all the aforementioned, regarding the lighting decisions and its current conditions, causes some issues that undermines the CUC correct and safe illumination. Under regular conditions, the lack of a unified lighting project for the entire ensemble makes the CUC disconnected during nighttime, were lighting trespass and misdirection often disturbs the ensemble’s image, while in some extent, exacerbates issues regarding security, safety, light pollution and human health in the campus area.

a

b

Figure 22. Nighttime pictures of the CUC at least from 2000’s - 2010’s decades.

According to the testimony from Prof. and Electrical Engineer Alexander Cepeda and many CUC staff representatives and users in general currently frequenting the university, in nowadays, the artificial lighting of the campus is almost non-existent, due to lack of budget. Pictures from internet.

a). & b). No man’s Land. c). Covered Plaza. d). Covered corridor type 3. e) Covered corridor type 5. f) Covered plaza with sculpture and bimural. g).

Covered corridor type 7. h). Central library parking Lot. i) Rectorate plaza.

56

c

d

e

f

g

h

i 57

3.6) HISTORICAL ARTIFICIAL LIGHTING IN CUC After reviewing the current situation with artificial lighting in the CUC, it is advisable to take a look back in the days where the university campus was still under construction or many buildings were recently inaugurated, being architect Villanueva alive and conducting the projects until his decease in 1975.

Therefore, a historical review involving pictures, plans and documentation will be done for a better comprehension of the lighting situation in the CUC during its first years.

A). – STREET LIGHTING: The original street lighting poles were imported from Germany, and used luminaries hanged from the post’s horizontal tubes, having one or two arms extensions depending on the area they were placed. (See appendix 3 for detailed description of the posts and appendix 4 for the original document and catalogue of the luminary used).

The technology used was either mercury vapor lamps or low-Pressure sodium lamps for the streets, using the E40 sockets and industry’s standard wattage for such technologies during that time. Fluorescent tubes lamps were also used on parking lots, usually being of 40W-220V.3

a

Moreover, the concrete monoliths were catalogued as illumination elements for streets, since they are referred as that in the plan “street and gardens illumination plan” (See appendix 2).

Figure 23. Tamanaco Main Entrance and street. Circa 1950’s. Author: a). photo Luis Felipe Toro, b). Unknown.

b 58

a

Figure 24. a). Cultural-Directive Center street, circa 1950-60’s. Author: unknown. b).

Faculty of Architecture and Urbanism. Circa 1960s. Author: photo by Frank Scherschel for Life Magazine.

59

b

B). – EXTERIOR LIGHTING: Besides the concrete monolith’s elements, it became known that there was a general ensemble illumination plan, and was dispatched by November 25, 1952. (See Appendix 5), roughly coinciding with the dates shown in the ] budget to import the lighting poles and lamps around that time in 1952. Therefore, on this plan we can see that the same posts of the street illumination were planned to be used to illuminate garden areas, such as in Experimental and anatomical Medicine institutes or the No Man’s land forest. However, due to the experimental phase that Villanueva was undertaking during those years, this ensemble plan was not the final one, since many areas and buildings were still on the works and design phase, meaning that much of them and garden areas were going to change afterwards. Nevertheless, this plan it’s a testimony that an intentionality in illuminating these areas through the same posts in street lighting, using fluorescent or LPS lamps, was considered.

Figure 25. Experimental and Anatomical Medicine Institutes, circa 1950’s1960’s. it is possible to spot the same single arm lighting post in at least one area inside the garden, marked in red, confirming until some extent the general ensemble illumination plan of 1952.

Author: unknown.

60

a

Other known illumination fixtures that were present on their first years were a type of lighting poles using the same lamps in street lighting, installed in the today’s area known as Rectorate’s Plaza, formerly functioning as a parking lot for vehicles, but also intended as an area were students and people of the CUC could gather for political or special meetings. These poles still survive today at the same location.

O

b

n.

61

Figure 26. Rectorate Plaza, a). circa 1950’s, b). Circa 2010’s, it can be noted that floodlights were placed on the top of the Museum’s building on 1950s, probably for night gatherings. Photos from internet. Authors: unknown.

b

a

Figure 27. The Clocktower has three half buried up-lighting dating from the 1950s, intended to illuminate the structure and part of the clocks in the upper area. It was confirmed by the site visit that these fixtures are still there today, but out of service. Probably using incandescent or LPS lamps of 1000 W.34 62

a

c Figure 28. a). Central library building with reading room, circa 1960s. Photo

by Frank Scherschel for Life Magazine. b). Faculty of Engineering, building of Laboratories and Chemistry, Geology and Petroleum building, circa 1960s.

Photo author: unknown. c). Southern façade of building of Chemestry, Geology and Petroleum building, circa 1950s. Photo by Frank Scherschel for Life Magazine. In pictures, it is noticeable that those luminaries attached to the roof on the reading room and the Engineering Faculty had not been placed yet, showing on their first years a clean image of their architecture, assuming that they were placed around the decades of 1970’s or 1980’s, after Villanueva’s death.

b 63

c

a

Figure 29. As for the illumination of the main entrance’s arches, there is an electrical plan (see appendix 6) that explains the intention of having up-lighting reflectors integrated in the entrance gates structure, using 8 640W incandescent lamps. On picture a). taken by photographer Luis Felipe Toro in Tamanaco main entrance, from approximately the beginning of the 1950s, it is possible to see the gates structure but is not seen the up-lighting fixtures installed, the same was seen on picture b). from an unknown author from approximately the 1960s, in Las Tres Gracias Access, showing the gate structure as well. In nowadays, picture c)., it was found that there is no gate structure and there are two pendant luminaries on the arches instead.

b 64

The historical pictures corroborate the covered corridors illumination, with the embedded luminaries in the concrete slab, of incandescent tungsten with E27 sockets, from 100W-150W, depending on each case. Having a clean image of the corridors with no visible elements popping out on their internal surface. (see appendix 7, for specifications in some corridors plans able to be found).

b

v

a

Figure 30. Pictures a, b and c. Corridor type 5 circa 1960s, pictures by Frank Scherschel – Life Magazine. Luminaries position indicated in red.

65

c

From the historical documentation and pictures, it was found that there were some special considerations regarding the artificial illumination for the works of arts and some exterior areas of the CUC. For instance, it was found a lighting report that explains the desired levels of illuminance for the covered plaza area (see appendix 8). Here, it’s clear the hierarchization through lighting of the elements that compose the space, determining an increment of illumination in order to highlight features that the architect considered important to illuminate under nighttime conditions. The specialist recommended low levels of illuminance for the general area of the plaza (15 lux) having a continuous increment in illuminance levels as visitors get closer and inside the Aula Magna. Simultaneously, proposed reflectors of 150W with incandescent bulb for the works of art inside the plaza, catching the attention of the visitors. Lastly, the illumination of the vegetation nearby the covered plaza was also considered, referred as colorful and illuminating them with water proof reflectors of 150W, leaving electricity points in the area for flexibility in future different settings in the covered plaza.

a

Figure 31. a). Corridor type 4, unknown date, pictures by Paolo Gasparini.

Luminaries position indicated in red. b). Corridor type 4 circa 1960s, picture by Frank Scherschel – Life Magazine. Luminaries position indicated in red.

b 66

b

a

Figure 32. Covered plaza circa 1954 after inauguration, pictures by Frank Scherschel – Life Magazine. It can be seen the hierarchization through illumination of general area and works of arts, moreover, the use of the reflectors as mentioned in the illumination document. (Appendix 9 for proposed plans of luminaries in the area).

67

a

b

c

Figure 33. On the pictures shown, is noticeable the use of floodlights for the illumination of specific works of art on the exterior areas, giving the assumption of Villanueva’s interest of how the CUC would be perceived within its spaces during nighttime. a). and b) The Fernand Leger stained glass piece in the hall entrance of the reading room, and c). The mural of Mateo Manaure in the Paraninfo. These luminaries do not survive today. Author of b). and c).: Frank Scherschel, and picture a). by Luis Brito, circa 1954.

68

a Figure 34. a). floodlights to the Fernand Leger stained glass art. b). Covered plaza showing luminaries in the ceiling. Author Frank Scherschel for Life Magazine, circa 1954.

b 69

3.7) LIGHT POLLUTION As the capital of Venezuela, Caracas and its surroundings have a high incidence of light pollution among other main cities in the country. The lack of an updated and strong legislation considering regulate efficiently this subject is incipient and has prevented its reduction, instead, an increment on this matter has occurred in the last decades, with the growth of population in urbanized and rural areas of Venezuela.

b

c

a Figure 35. a). Picture of Caracas during twilight. Author: Nelson Pinto, 2015.

Left: Maps of zenith sky brightness using the Bortle Dark Sky Scale.35 Measuring the values corresponding to Caracas and Ciudad Universitaria de Caracas, marked in white circles. b). Venezuela and Colombia, c). Venezuela’s north central region and cities, d). Caracas and CUC location. According to the Bortle Dark Sky scale with data from 2015, the area corresponding specifically to the Ciudad Universitaria de Caracas measured 18,47 mag./arc sec2, corresponding to a class 7, a suburban/urban transition, presenting light pollution on the sky zenith and clouds being brilliantly lit.36 (See appendix 10).

d 70

Additionally, thanks to Biourbana UCV, some species identification has been carried out by now only in Sciences faculty area, where it has been possible to identify around 8 bat species, +80 species of birds, 6 species of reptiles, 3 of amphibious and 4 of mammals, being sure that this numbers can increase as measurements are made in the areas near medicine and the botanical garden.

Corroborating the importance of the botanical garden and the CUC as an urban fauna reservoir, and the need to take actions to reduce light pollution inside the campus and its surroundings.

3.7.1) LIGHT POLLUTION IN WILDLIFE & HUMANS Even though lighting is important for safer exterior activities in urban areas, excessive and inadequate artificial lighting can be detrimental for animals and human’s health.

Caracas biodiversity is very rich, surrounded by tropical rainforest, especially on the north with the Warairarepano National Park, which belongs to the central coastal mountainous range and being home of many birds, mammals, marsupials, amphibious, reptiles and insects. This unavoidably makes the big (and scarce) parks inside the city a substantial urban fauna reservoir, being the botanical garden part of them.

Light pollution poses a serious threat in particular to nocturnal wildlife, having negative impacts on plant and animal physiology. It can confuse animal navigation, alter competitive interactions, change predator-prey relations, and cause physiological harm.38 The rhythm of life is orchestrated by the natural diurnal patterns of light and dark, so disruption to these patterns impacts the ecological dynamics. 39

The biologist and coordinator of Biourbana UCV project, Marijul Narváez37, confirmed the importance of correct lighting in exterior areas. She referred to a topic regarding urban ecology, and how the cold white LED lighting is actually affecting the synchronicity of various species in urban areas, specially birds, which is the most abundant species in Caracas.

Diurnal birds have a schedule to look for shelter before sunset and they wake up around 04:30 hrs., when sunrise twilight starts. What happens is, due to the CCT of cold white LEDs and its similarity with daylight CCT, it’s difficult for them to understand when these regular cycles start or finish, making them confuse and causing eventually to move somewhere else, since they don’t have the darkness they expect for their schedule and evening shelters. The opposite occurs with bats, where they start activity after sunset or even on later hours like 22:00 hrs., being back to their shelters at maximum 04:00 hrs. While some species may benefit from capturing insects around lighting fixtures, others are affected on their hunting and gathering routes by white cold light.39 This is just a tiny sample from all the species that inhabit Caracas.

Biologist Narváez also stated a particular concern regarding the city’s illumination, where the street and exterior lighting in areas such as Parque del Este (East Park) are planned to be changed towards cold white LEDs luminaries, following a technological update that could pose a danger for wildlife wellbeing, especially for bird’s nesting and sheltering activities, on the urban areas during nighttime.

a

b

c

d

e

f

Figure 36. Examples of different animal species that can be found within Caracas and CUC areas. a). Rounded ears bat (Lophostoma silvicolum), b). small hawk (Milvago chimachima), c). Trogon bird (Trogon collaris), d). Frog (Boana crepitans), e). three finger’s sloth (Bradipus Variegatus), f). possum (Didelphis marsupialis).

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As for Human’s health and well-being, medical research has been conducted on recent years, trying to understand the effects of excessive light on the human body and psyche, most of the times, concluding that a variety of adverse health effects may be caused by light pollution or excessive light exposure.

As diurnal species, human’s circadian rhythm is synchronized with the day and night shift, in which our bodies sleep and produce various chemicals. One such is melatonin, a cancer-fighting chemical that is best produced in the darkness of night. Research indicates that reductions in the levels of melatonin appear to reduce the body’s ability to fight cancers such as breast and prostate cancer, both of which have seen great increases in industrialized nations that use night lights. 40 While any kind of light can interfere with melatonin production, the short wavelength or blue portion of the spectrum is the most determinant for melatonin suppression in humans.

Other issues involving excessive exposure to artificial light, over-illumination or improper spectral composition of light may include: sleep disorders, increased headache incidence, fatigue, obesity, stress, decrease in sexual function and increase in anxiety.

b

"... light intrusion, even if dim, is likely to have measurable effects on sleep disruption and melatonin suppression. Even if these effects are relatively small from night to night, continuous chronic circadian, sleep and hormonal disruption may have longer-term health risks".41 Regarding the types of light pollution, glare has dangerous effects on night environment, posing as a public health hazard leading to unsafe driving conditions. Especially in the elderly, glare produces loss of contrast, obscuring night vision.42

c Figure 37. a) The electromagnetic radiation and the visible light spectrum. The blue portion causes melatonin suppression during nighttime exposure. b) Circadian rhythm with important physiological processes in human body. c) Cortisol and melatonin run opposite to one another: Cortisol is produced in the mornings, reaching a peak concentration at around 9 a.m. which then steadily declines during the day. Melatonin production starts at night, peaking at around 3 a.m.

a 72

- Aesthetically enhance the values of the different works of arts that are present within the university campus.

3.7.2) HOW TO REDUCE LIGHT POLLUTION Today, many theoretical and technological resources are available to help reduce the incidence and increase of light pollution in populated areas, without sacrificing the benefits of illumination, especially concerning outdoor lighting.

Three aspects have been considered for the CUC case: A). – Safer illumination: often by social beliefs, “more light” is synonym of “safer and better nighttime conditions”, on the contrary, this contributes to light pollution on wildlife and humans’ settlements. Therefore, it is important to promote good outdoor lighting by illuminating precisely and only the areas that are needed, when its needed, with the correct amount of light and complying with local and current law regulations.

B). – Use of efficient and precise outdoor luminaries: according to IDA (The international Dark sky Association)43 is strongly encouraged the wise use of outdoor lighting, with luminaries fully shielded and avoiding light spread 90° above nadir and hemisphere, pointing downwards. The luminary’s technology should allow flexibility regarding dimming or any further lighting control systems, and they should not exceed the 3000 K in Correlated Color Temperature, choosing “amber” or “warm-white” LEDs instead of colder – blueish CCTs, diminishing the possibilities of emitting blue light into the night ambiance.43

90° above Nadir

C). – Lighting schedule: depending on the use of the area, illumination levels should be flexible and be able to vary through lighting control technology, allowing illumination values to decrease into minimum levels during low activity hours, or increase if movement is detected or turn on/off with photosensitive accessories or clock timers, for instance. On the specific case of the CUC, there are three situations that needs to be considered for the scheduling of the outdoor illumination: - Orient people safely through the campus after daylight hours.

- Provide safety by lighting levels that could help detect more easily hazards regarding vandalism, criminality and assist users and security personnel.

Figure 38. Diagram of no shielded luminaries’ effects on the night sky and surroundings.

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decrease in vandalism and the reduction of crime rates 47, highlighting the importance of good and preventive maintenance of urban equipment (lighting), considering luminaries and lighting strategies that are resistant to deterioration and vandalism.

3.8) LIGHT AND CRIMINALITY According to data from Statista 44, In 2019, the city of Caracas ranked second in the list of the most violent cities in the world, a rate of 111.2 homicides per 100,000 inhabitants, in a city of 3,046,104. Unfortunately, the effects of violence and personal insecurity are also reflected in the spaces of the CUC.

It is imperative to seek solutions that could help reverse the incidence of criminal acts within the CUC. However, it should be mentioned that with just by placing lights with no further planning will not solve all the serious political, economic and social issues of Venezuelan society. Instead, a unitary consensus must be achieved between the different actors of society, where among the many topics to be discussed, good and efficient lighting planning should be considered. Lighting should be at service of users and security personnel, helping to improve the preventive security tasks, while inviting user to inhabit the spaces within the campus.

In recent years, criminal acts in the university city have become common, given the precarious situation of the university budget, where resources are scarce and hiring more security personnel and maintaining the infrastructure of the CUC is not possible, contributing to the increase of CUC’S physical and security deterioration: “Currently, the spaces of the Central University of Venezuela are experiencing a situation of insecurity that is increasing day by day, due to the lack of surveillance personnel. It is no secret to anyone that crime has reached every corner of the Venezuelan society, and the university was not spared from that plague. From a few months, the robbery and theft towards the facilities of the university campus have increased, leaving without wiring, light bulbs, among other things, areas within the university, affecting the tranquility of the students.� 45 Since 2011, the UCV security department46 has an annual record of the most common criminal acts occurring within its facilities. By 2019, a total of 115 criminal acts were recorded, with larceny occupying the first place (consummated and frustrated) and on second place, robbery / assault (consummated and frustrated). Being the most common places of incidence the sectors of the faculty of architecture and urban planning, the forest of no man's land and its surrounding areas, schools and gardens of medical institutes, with the highest incidence on midweek and measured at times between 12: 00 am until 11:59 pm 46 (See appendix 12 for tables of UCV security department), no area of the university is exempt from criminal acts.

One of the hypotheses that can be intuited for the increase in crime within the CUC could be, in part, based on the theory of broken windows. Where it is assured that keeping urban environments in good condition can cause a

Figure 39. Custody areas of the UCV Security Department. Being polygons 9, 1, 6 and 4, respectively, the ones with highest incidence of criminal acts.

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the case without the new lights. Among other findings, the study concluded that increased levels of lighting led to a 36% reduction in "index crimes".51

3.8.1) DOES MORE LIGHT MEANS SAFER PLACES? Recent studies have raised the question about the usual thinking of the relationship between over-illuminating areas with safer public spaces, where more frequently, is shown that doing so do not help to make safer places, instead, it can carry out many other issues involving personal and public security hazards.

Of course, differences between England, U.S.A. and Venezuela are evident, where in Venezuela is preferred over-illuminated public areas with lighting simulating daylight conditions at night, assuming that this will deter criminals from committing crimes if they are brightly exposed. Nevertheless, no current study has demonstrated so far this assumption in Venezuela nor Caracas, where crimes are also committed during daylight, being something that most of the people agrees with.

On a personal level, too much lighting can actually have negative effects. Visibility should always be the goal, and glare from bright, unshielded lights actually decreases safety because it shines into our eyes and constricts our pupils. This can not only be blinding; it also makes it more difficult for our eyes to adjust to low-light conditions 48, hindering the possibility of our eyes to process and detect hazards quicker in public areas, like obstacles in the pavement or recognizing a possible aggressor.

A dark sky does not necessarily mean a dark ground. Smart lighting that directs light where it is needed creates a balance between safety and starlight.48 So the importance lies on the correct lighting planning, considering glare avoidance and providing the sufficient amount of light on a vertical plane, needed to recognize obstacles or aggressors at a distance, without incurring into wasteful, harsh and exaggerated ways of lighting outdoor public spaces.

Physiological glare occurs as a result of excessively high luminance in the visual field or differences in luminance to which the eye cannot adapt. The source of glare creates scattered light which spreads over the retina like a veil and substantially reduces the contrast of the images projected onto it. The higher the glare illuminance at the observer’s eye and the closer the glare source, the higher the veiling luminance.49 Moreover, several studies have demonstrated that increased lighting does not affect drastically in the deter of crimes on a certain area. A 2015 study published in the Journal of Epidemiology and Community Health 51 in England found that streetlights don’t prevent accidents or crime, but do cost a lot of money. This study found little evidence of harmful effects of switch off, partnight lighting, dimming, or changes to white light/LEDs on road collisions or crime in England and Wales.50 Another study was made by Crime Lab in partnership with the government and agencies of New York City police department, designing a randomized controlled trial involving nearly 40 public housing developments, all of which had elevated levels of crime, and half of which received new lights and half did not. The lights study found that the developments that received new lights experienced crime rates that were significantly lower than would have been

Figure 40. Night view of Pinto Salinas, a popular high-rise blocks neighborhood.

One of the most dangerous places of Caracas. Author: Nelson Pinto, 2015.

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Figure 42. At adaptation luminance , , an object and its surroundings need at least luminance contrast ΔL0 for the object to be identifiable. Where glare occurs, veiling luminance causes the eye to adapt to the higher luminance level L + Ls: at luminance contrast ΔL0, the visual object is invisible. To make it discernible, the luminance contrast needs to be raised to ΔLBL. This percentage rise in threshold values TI (Threshold Increment) from ΔL0 to ΔLBL is the measure of physiological glare. Where the luminance calculation produces high TI values, glare is intense. Glare-suppressed lighting systems take account of threshold increments between 7 and 10 percent. For relatively quiet roads, 15 to 20 percent is still an acceptable value.49

Figure 41. Identifying faces at a distance. Good lighting is essential to enable pedestrians to identify approaching figures, anticipate their intentions and react accordingly. According to studies, 1 lux semi-cylindrical illuminance is a minimum requirement here. Measured at a height of 1.5 meters above the ground, semi-cylindrical illuminance describes the amount of vertical illuminance that falls on a semi-cylindrical surface.49 76

Figure 43. Night view of CUC and Las Acacias Neighborhood towards north, year 2015. Author: Nelson Pinto.

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4) USERS SURVEY In order to better understand the current situation of the University City of Caracas, especially in lighting, it was decided to carry out the following survey, looking forward to know first-hand real data, that in some way, would account for public and general opinion of the users who frequent the CUC’s spaces at present. In addition, this survey not only wanted to collect data, but also, to offer users the opportunity to express their opinion and suggest ideas, looking to achieve an environment whose lighting is really at the service of users.

To carry out this survey, the Google Forms editable questionnaire platform was used, where 18 questions were subdivided into two parts: the first part regarding general questions measuring among many things, the frequency of use, hours of use, frequent places used, general conditions, and above all, the willingness to use their spaces in given cases. The second and final section shows a series of images with different lighting cases, where it is about knowing the general perception of users regarding this topic, displaying 3 different situations, being the candidates to propose a lighting design.52 This online survey was distributed as massively as possible through the interviewees’ colleagues, webpages and groups of the different schools and faculties of the university, including their social networks. Resulting in obtaining the opinion of a diverse and considerable number of surveyed users, which can be shown below.

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4.1) SURVEYED USERS’ BASIC DATA AGE (99 responses) 17%

SEX (99 responses)

10%

27% 22%

16-21 yrs

Masculine

22-30 yrs

Femenine

31-40 yrs 41-60 yrs 60-90 yrs

24%

USERS (99 responses)

Student CUC - UCV Graduated - UCV Professors, Staff CUC - UCV UCV Administrative staff UCV employee Citizen from the Metropolitan area of Caracas Citizen from another city

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4.2) 1ST PART: GENERAL QUESTIONS 1.- Taking into account your usual or leisure routine, how often do you visit the University City of Caracas? (99 responses)

Rarely Rarely

Very Very Often Often

2.- Taking into account your usual or leisure routine, at what time of the day do you visit the University City of Caracas_ check more than one option if necessary. (99 responses)

Day

Afternoon

Night

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3.- When you have visited the University City of Caracas, which places do you visit frequently? Check more than one option if necessary. (99 responses) Classrooms and faculty buildings Auditoriums / Lectures / Concerts University Clinical Hospital, Medical related services Green Areas, University campus (Exterior areas)

Commercial (Covered Corridor bookstores, others) Students sports courts (Basketball, tennis, football) Olympic & Baseball Stadiums UCV Cafeteria, other food establishments Just used as a shortcut through Caracas

4.- In general, how do you consider the lighting of the external areas and spaces of the University City of Caracas during the day? (99 responses)

Very poor

Excellent 81

5.- In general, how do you consider the lighting of the external areas and spaces of the University City of Caracas at night? (99 responses)

Very poor

Excellent

6.- Do you think that the time in which you visit and carry out your activities in the University city of Caracas is directly influenced by the presence or absence of well-lit spaces? (99 responses) Yes No Maybe

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7.- According to your perception, what is the level of insecurity, criminality and vandalism in the University City of Caracas? (99 responses)

Very low

Very High 9.- Do you think that the current artificial lighting situation in the University City of Caracas Makes you limit or avoid using the facilities, whether internal or external? (99 responses)

8.- Based on the previous question, do you think that the insecurity, criminality and vandalism are due in part to the absence of well-lit spaces in the University City of Caracas? (99 responses) Yes No Maybe

Yes

No Maybe

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10.- As a citizen or visitor to the Caracas metropolitan region, do you think that there is a lack of public spaces and green areas where you could have the freedom to be visited both day and night? (99 responses)

Yes No Maybe

Yes No Maybe

13.- Do you have any notion of what means the correct lighting of external spaces and architectural in general? (99 responses Yes No Maybe

11.- If there is lighting that invites the use and enjoyment of all the external spaces of the University of Caracas, where cultural activities in the open air, tours and contemplation of their works of architecture, works of art, natural environment and landscaping are possible at night, would you use these spaces? (99 responses) Yes No Maybe

14. Do you have any notion about light pollution and the impact it causes not only on the environment but also on living beings, including human beings?

(99 responses) Yes No Maybe

12.- Do you have any notion of the historical and cultural relevance that the University City of Caracas represents, not only for Venezuela but for humanity? (99 responses)

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4.3) 2ND PART: REFERENTIAL IMAGES OF LIGHTING SITUATIONS 15. – Street / Parking lots:

15. – Streets and Parking Lots:

Safe Functional Esthetic Conscious to the night environment

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16. – Green Areas / Exterior:

Safe Functional Esthetic Conscious to the night environment

86

17. – Facades / Architectural elements:

Safe

Functional

Esthetic Conscious to the night environment

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Figure 44. Word Cloud53 made with the words and ideas from the surveyors regarding question 18.

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almost all those surveyed are aware of what the CUC represents in terms of heritage and values regarding the modernity of the 20th century.

4.4) ANALYSIS OF SURVEY RESULTS Based on the results of the survey, the following points could be concluded: Despite the unfavorable conditions in terms of maintenance and security, users continue to frequent the CUC by going to classrooms, lectures and activities in auditoriums. Being unavoidable the use of outdoor spaces, since these convey as nodes and interconnection areas for pedestrian mobilization within the university.

The lighting conditions are very critical, where it can imply the relationship between daylight hours of university activities with crime rates, with the evening and night hours, being the most suitable for crimes to occur.46 It is important to address and make available the resources that are necessary for the recovery of the external areas that conforms the university campus, given the deficit of conditioned green areas, which, according to the perception of those surveyed, exists in the capital (around 1.2 m2 per inhabitant, with 9 m2 being the minimum required, according to the WHO).54 Therefore, it is a unique opportunity to contemplate, within a comprehensive plan and recovery of the exterior areas of the university, a lighting proposal that could promote, on one hand, the possibility of cultural and recreational activities on the university campus during night hours. Being most of the respondents willing to attend if the conditions are improved. Also, a lighting that is consistent and respectful to his historical and heritage character, having the campus the necessary infrastructure for this to occur.

Safety, robust luminaires and obtaining the necessary resources are a priority for the vast majority of respondents, where in lighting, these aspects should be taken into account. However, under their perception, white light similar to daylight is the most appropriate lighting to meet their requirement, following the explained earlier in chapter 3.9 of this document regarding the perception of safety with lighting levels.

Additionally, strategies of sustainability and technological adaptation for the areas to be illuminated are suggested, as well as the possibility of aesthetics and exalting the university’s-built heritage through illumination, given that 89

5) DESIGN PHASE In the next chapter an artificial lighting design will be proposed, taking into account all the information gathered so far in the previous chapters, where historical, site and human values will play an important role in the correct procedure in lighting design.

Due to the magnitude of the place, only type and certain representative places of the university will be taken into account, looking to determine ways of improving its current artificial lighting conditions. Giving importance to the streets, outdoor sidewalks, accesses to the CUC, covered corridors, and outdoor spaces like gardens of medicine institutes and No Man's Land.

Finally, the technical data of the used luminaires each specific site will be shown, with values simulating historical situations and those proposed in this architectural lighting design thesis.

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the tropical idea represented in spaces and textures, the concept of integration of the arts, modernity represented in volumes and spaces, among others.

5.1) GUIDELINES FOR THE CUC Given the CUC’s complex nature, involving educational, medical, institutional, urban green area, fauna reservoir, National Historical Monument and since the year 2000, World Heritage Site; every new project involving interventions within its campus must comply with, minimum, two general guidelines: The COPRED’s General intervention guidelines56 and the national COVENIN Standard 3290:199757, the latter being for the lighting levels required in its different areas.

5.1.1.1) GENERAL GUIDELINES FOR THE CONSERVATION OF THE HERITAGE OF THE UCV

INTEGRAL

In order to define these guidelines, the COPRED used as a starting point the current norms approved within the CUC in the area of architecture and urban planning, the Law for the Protection and Defense of Cultural Heritage in Venezuela, the UNESCO Conventions and Recommendations on the protection of cultural heritage and the International Norms and Charters that govern the area of built heritage.

5.1.1) COPRED'S GENERAL GUIDELINES OF INTERVENTION FOR THE BUILDINGS OF THE UNIVERSITY CITY OF CARACAS

Of all the guidelines proposed by COPRED for the conservation of the CUC, the following points stand out since they can be related to the topic of a lighting design proposal:

After its declaration in UNESCO, COPRED created in 2004 the general guidelines for the intervention of buildings in the University City of Caracas, acting as a governing body that fulfills the functions of advice to all university entities in matters of preservation of heritage of the CUC, having its decisions binding.

- The planning for the built heritage will be carried out with current and integral criteria, understanding each one of the entities in its totality and interconnection, therefore, the different interventions will not be able to be seen from the individuality of each administrative instance.

According to its guidelines, the physical actions within the CUC’s ensemble can basically take place on four areas: in the open spaces, in the buildings, in the networks and services, and in the works of art.

These four areas of action present a particular classification that COPRED applies to its interventions; thus, in terms of open spaces we have the differentiation between vehicle and pedestrian networks, and in terms of buildings we have those that are built (Type 1, Type 2, Type 3 and Type 4) and those that are yet to be built. In the case of networks and services, we are talking about sanitary, electricity and voice/data networks; while in terms of works of art, we can distinguish between those belonging to the Synthesis of the Arts collection and those outside it.

- They are established as basic criteria in the cases of interventions in buildings and spaces:

Based on the principle that the proposals for action (coming from any source) are valid insofar as they seek to adapt the spaces to current and real needs, it is essential to consider that they must respect some basic guidelines, given the status of this university campus as a National Monument and as a World Heritage Site, which requires the conservation of certain values that have been recognized, such as: the image of the whole, the concept of the modern city,

- rejection of the general rules, recognizing the individuality of each restoration.

- minimum intervention.

- respect for authenticity.

- evident differentiation between what exists and what has been restored.

- reversibility in the intervention.

- Limit the interventions to cases of real necessity.

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any type or modifications in the original reading of the spaces. It should be noted that no alterations or modifications of facades are permitted in this type of building, nor are changes of use.

5.1.1.2) TYPES OF BUILDING INTERVENTIONS The different types of interventions in the buildings considered in this COPRED document include: a). restorations, b). consolidations, c). preventive maintenance, d). corrective maintenance, e). technological updates, f). new installations, g). spatial adaptations, h). repairs, i). extensions, j). removals or demolitions, k). changes of use and l). new works. From all, a), e) and f) in particular are in line with the intentions of the lighting proposal:

Type 2: are understood to be buildings whose values of originality, aesthetics, assembly and construction and spaces indicate or require localized interventions and admit interventions on an internal level, provided that these do not alter, eliminate or affect significant spaces, finishes, textures and enclosures. In these cases, equipment and system updates, space adaptations, modifications to internal divisions and furniture, and technological updates are permitted, all with the prior approval of COPRED. It should be noted that no alterations or modifications to the facades of this type of building are permitted, except in cases where these modifications tend to free these walls of non-valuable aggregates and cause deterioration to the building in question.

- Restorations: these are interventions aimed at maintaining use, facilitating spatial recognition and fully preserving buildings and spaces in their dual role: aesthetic and historical. These interventions are developed from a project by a specialist in the area.

- Technological Upgrades: Upgrades include the replacement of equipment, systems or networks with new technology elements, considering the possibility of replacing existing wiring or accessory systems.

Type 3: are understood to be all those buildings and volumes whose construction was not foreseen in Carlos Raúl Villanueva's original Project but which constitute buildings with constructive values and which have not negatively affected the CUC complex. These buildings could be subject to corrective and preventive maintenance activities, consolidations, adaptations, technological updates, and partial releases, all of these actions having the prior approval of COPRED.

- New network and service installations: actions aimed at placing, building or implementing systems and services (mechanical, electrical, health, voice/data) are considered here.

5.1.1.3) CLASSIFICATION OF BUILDINGS AND SPACES •

A. Open spaces: made up of green areas, pedestrian and vehicle networks.

•

B. Buildings and spaces: in order to determine the possibilities of action within the CUC, we have considered classifying buildings into two groups: B.1 Buildings constructed and B.2 Buildings to be constructed.

•

B.1 Constructed buildings: within this group of buildings we have:

Type 4: are understood to be all those buildings and volumes that do not present typological, aesthetic or overall values, they are the so-called soft buildings and can be subject to restructuring. Corrective and preventive maintenance actions, consolidations, adaptations, technological updates, releases and/or partial or total demolitions are feasible, counting with the previous approval of COPRED.

Type 1: buildings and spaces are included here whose values of originality, aesthetics, spatial conditions, implantation, assembly and construction imply the need to preserve their characteristics and intervene them by applying the relevant methodologies in terms of conservation of built heritage. This type of buildings and spaces are prone to integral conservation, and preventive and corrective maintenance procedures can be carried out in them, as well as consolidations and general care following the guidelines established by COPRED. Updates of services, installations and systems are also permitted, as long as they do not produce alterations of

• B.2 Buildings to be constructed. This includes the buildings established in the original project that were not built, as well as all those buildings and volumes whose construction needs are determined after exhaustive and detailed studies of area occupation, programmatic needs, environmental impact and service studies, economic feasibility studies, and all those considered pertinent to justify new insertions on the university campus.

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Type 1 Type 2 Type 3 Type 4 Open spaces Under construction

Figure 42. CUC ensemble plan. Showing the buildings and areas classification, regarding the general guidelines of intervention document from COPRED. 93

Buildings

Type 1

Type 2

Type 3

Restorarions

X X X

X X X

X X X

X

X

X

X

X

Consolidations Preventive Maintenance Corrective Maintenance Technology Updates Spatial Adaptations Expansions / Additions Network and Service Installations Removals Demolitions Changes in Uses

X

Type 4

5.2) GUIDELINES FOR ILLUMINATION In Venezuela, the national COVENIN Standard 3290:1997 serves as the official document used to stablish the minimum illuminance values for interior and exterior areas of buildings or other facilities involving human activities.

According to the standard, the required lighting levels are summarized below (Em corresponding to the Minimum Illuminance values): - Urban roads or road corridors inside the CUC are defined as local roads and zone A (Em= 10 - 15 lux, U1= 0,30 and U2= 0,15; See table 8).

X

X

X

X

X

X

X

X

X

X

X

- Open areas will be taken from the type circulation area and zone B2 (Em= 15 lux and U1= 0,15; See Table 9).

X

- Open air rest and contemplation areas will be taken from the accessible Green Zone type (Em= 10 lux, see table 9).

X

X

- Open pedestrian paths and covered corridors shall be considered as sidewalk and A-1 zone type (Em= 15 lux and U1= 0,20 - 0,30; See Table 9).

X

- Parking area will be of the exterior type without an usher (Em= 15 lux and U1= 0,20; See table 10).

Table 7. Possibilities of action by type of building. (Translated from Spanish by the author)56

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Table 8. Characteristics of urban street lighting. COVENIN Standard 3290:1997 – Venezuela. (Translated from Spanish by the author).

95

Table 9. Lighting characteristics of roads and public circulation areas of pedestrians. COVENIN Standard 3290:1997 – Venezuela (Translated from Spanish by the author)

Table 10 (Right). Lighting characteristics in public areas for vehicles and areas.

COVENIN Standard 3290:1997 – Venezuela. (Translated from Spanish by the author).

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• Provide sufficient illumination to make a safer night environment, as for social matters (Orientation, facial recognition, surveillance, and contemplation of the CUC during nighttime) and not to disturb the natural environment.

5.3) LIGHTING DESIGN 5.3.1) CONCEPT “The House that Overcomes the Shadow” is a stanza that is mentioned in the UCV’s hymn, being a metaphor that alludes to the role of teaching and university education as a vehicle for people to come out of ignorance, and out of darkness:

• Updating illumination elements to new technology and current time’s needs, looking to optimize its luminous efficiency, energy consumption, light distribution and life span.

“Overcoming the shadow means trying to raise the moral values of the citizen which, of course, are reflected in all aspects of life. It is not only about formal education but about opening horizons and paths for students to contribute to the betterment of humanity.”58

• Reveal the works of arts and special features of the CUC with precise and subtle lighting, intended to be displayed only during special occasions or events, enhancing the artistic and aesthetic values of the CUC during nighttime.

That is why, in this case, light can serve as a vehicle to guide the people who might inhabit the CUC at nightfall. Managing to recover the spaces of the campus by means of a reconnection with nature, showing the outstanding colorful space, in which, they are immersed. Represented by the mixture of the tropical nature and built urban environment, amalgamated thanks to the inventiveness of the modern Venezuelan man of the 20th century. Curiously enough, all of this occurring thanks to the mantle of night and darkness, were these spaces can be appreciated under a new optic, leaving aside restlessness, fear and worry, and inviting to tranquility, exaltation and joy; seeing the shadow and darkness as an opportunity to illuminate our lives within the CUCUCV. The design concept principles can be summarized in: • Respectful lighting to the Built Heritage and the Natural environment, using lighting techniques and technology as inconspicuous as possible, so the image of the CUC nor the natural nighttime is affected by such.

Also, maximizing the efficiency of lighting through technological elements for precise light directed to the areas required in the exterior, for instance.

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5.3.2) LIGHTING AREAS CROSS INFORMATION 1) PEDESTRIAN FLOW. *

High flow Medium flow Low flow *Based on Survey’s data.

Buildings

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2) CRIMINALITY INCIDENCE*

High incidence *Based on Survey and UCV

Security48

data.

Low incidence

99

3) WILDLIFE SENSITIVE AREAS

No Man’s Land Forest

Medicine’s Institutes Gardens

Architecture Garden

Botanical Garden CUC Campus - Gardens

100

4) BUILDINGS WITH WORKS OF ART / COLORED FACADES

a

e d

b

c f

Visuals lighting hierarchies High-rise buildings w/ works of art Low-rise buildings w/ works of art Auditoriums / Theaters

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x

5.3.3) CUC’S VISUAL TYPE LIGHTING HIERARCHIES

a

New street lighting with 2700 K LED technology, dimmable, with asymmetric and elliptic light distribution, helping to provide a homogeneous illumination in the pavement.

2700 K architectonic spotlights with controlled narrow beam, only turned on under special circumstances / events.

v

1800 K historical clocktower uplighting, only turned on under special circumstances / events.

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2700 K LED downlights, following its historical design, and a new LED linear uplighting to the curved ceiling, providing a homogeneous illumination. Dimmable.

b

2700 K architectonic faรงade lighting, only turned on under special circumstances / events and up to midnight.

Enhance the color/ material. Dimmable.

Historical Monoliths lighting with improved 2700 K LED technology, dimmable.

2700 K asymmetric wall washers with LED technology, for works of art. Turned on/off when required.

103

New street lighting with 2700 K LED technology, dimmable, with asymmetric and elliptic light distribution, helping to provide a homogeneous illumination in the pavement.

C

New street lighting with 2700 K LED technology, dimmable, with asymmetric and elliptic light distribution, helping to provide a homogeneous illumination in the pavement.

2700 K architectonic faรงade lighting, only turned on under special circumstances / events and up to midnight. Enhance the color/ material. Dimmable.

Pole top 2700 K LED technology luminaries in walk paths and garden areas, for homogenous and low ambient lighting, dimmable.

104

d

2700 K architectonic faรงade lighting, only turned on under special circumstances / events and up to midnight. Enhance the color/ material. Dimmable. . Enhance the color/ material. Dimmable.

2700 K asymmetric wall washers with LED technology, for works of art. Turned on/off when required.

2700 K LED downlights, following its historical design, and new LED up-lighting to the undulated ceiling, providing a homogeneous illumination. Dimmable.

Historical Monoliths lighting with improved 2700 K LED technology, dimmable.

105

ve Pole top Luminary with 2700 K LED technology in walk paths on garden areas, for homogenous and low ambient lighting, dimmable.

Indirect illumination in new concrete benches with 2700 K LED technology luminaries, tended to be installed next to walk paths on garden areas.

106

f

2700 K LED downlights, following its historical design, and a new LED linear uplighting to the vaulted ceiling, providing a homogeneous illumination. Dimmable.

New street lighting with 2700 K LED technology, dimmable, with asymmetric and elliptic light distribution, helping to provide a homogeneous illumination in the pavement.

2700 K architectonic faรงade lighting, only turned on under special circumstances / events and up to midnight. Enhance the color/ material. Dimmable.

107

5.3.4). LIGHTING SCHEDULES: GENERAL

SCENE A). - SUNSET – 22:00 HRS. The artificial lighting will increase from 0% to 100% on each area luminary’s capacity, since it is the adaption period from sunset into natural night darkness. Maintaining this illumination levels on streets, parking lots, covered and open-air corridors and garden areas. Being the most usual period of time when most of the nighttime activities are usually made in the CUC. 108

SCENE B). –22:00 – 00:00 HRS. Except on specific cases, most of classes and academical activities are finishing around 22:00 hrs., with people leaving to their homes, less illumination is required. So, decrease in illumination until 00:00 hrs. is intended, in around 20% on street light and parking lots, 40% in garden areas and open-air paths are firstly proposed, being subject of modification if required.

109

SCENE C). – 00:00 – SUNRISE. On this period, many of the activities at the CUC have finished, with very few people still working on nocturnal investigations, working in the University Clinic Hospital or doing surveillance activity. Therefore, the illumination levels will be decreased until the minimum enough to perceive the environment and ensure guarding activities. Motion sensors are activated on this time to increase the illumination levels in areas where movement is detected.

110

TYPE 2: BILATERAL ATERNATE POLES WITH LATERAL MOUNTED LAMP FOR SL01 = Street Lighting type 01 SIDEWALKS

5.3.5) STREET LIGHTING: TEST CASES TYPE 1: CENTRAL POLE WITH DOUBLE BRACKETS FOR LUMINARIES SL01

SL01

SL02 = Street Lighting type 02 PT01 = Pole Tope Luminary 01

SL02

SL01 SL01

SL01

SL02

PT01

SL01

zz SL01

SL02

PT01

SL02

SL01 SL01

SL01 SL01

SL02

PT01

SL01

SL01

PT01

SL02 SL02

SL01

SL01

SL01 PT01

SL02 SL01

SL01

SL01

SL01

SL02

SL01 SL01

SL02

SL01

SL01

SL01

SL02

SL01

SL01

SL01

SL02

PT01

SL02

SL01 SL01

PT01

SL01

SL02 SL01

SL01

SL02

SL01

SL01

SL02

PTL01

Street lighting: WE-EF model PFL540 LED 108-2455. Distance between poles: 12 m, Pole Height: 6. See SL01 on Luminaries’ specification section.

Exterior Open-air sidewalk: Hess City Element, distance between poles: 12 m, Pole Height: 4 m. See PT01 on Luminaries’ specification section.

SL02

Street lighting: WE-EF model PFL540 LED 108-2455, distance between poles: 13 m, Pole Height: 6m. See SL01 on Luminaries’ specification section.

Exterior Open-air sidewalk: WE-EF PFL230 LED 108-2488, distance between poles: 13 m, Luminary Height: 4 m. See SL02 on Luminaries’ specification.

111

TYPE 3: PARKING LOTS. SINGLE AND DOUBLE POSTS LUMINARIES, IN THE AREA PERIMETER

SL01

SL01

SL01

SL01

SL01

TYPE 4: PEDESTRIAN CROSSING WITH BILATERAL SL01 = Street Lighting type 01 SL02 = Street Lighting type 02

SL01

SL01

SL01 SL01

SL01

SL01

SL01 SL01

SL01

SL01

SL01

SL01 SL01 SL02 SL01

SL01 SL01

SL01

SL01

SL01

SL01

SL01

SL01

SL01

SL02

SL02

SL01

SL01

SL01

SL01

SL01

SL01

SL01 SL01

SL01

SL01 SL01

SL01

SL01 SL01

SL01

SL01

SL01 SL01

SL01

SL01

SL01

SL01

SL01 SL02

Street lighting: WE-EF model PFL540 LED 108-2455, distance between poles: 13 m, Pole Height: 6m. See SL01 on Luminaries’ specification section.

Exterior Open-air sidewalk: WE-EF PFL230 LED 108-2488, distance between poles: 13 m, Luminary Height: 4 m. See SL02 on Luminaries’ specification. section.

Street lighting: WE-EF model PFL540 LED 108-2455, distance between poles: 13 m, Pole Height: 6m. See SL01 on Luminaries’ specification section.

112

TYPE 1

TYPE 2

113

TYPE 3

TYPE 4

114

TYPE 5: REPRESENTATIVE HISTORICAL LIGHTING POLES UPDATED TO LED TECHNOLOGY With their integral restoration and technological updating, these elements could serve as a reminder of the past technology aesthetics, being perceived as "sentinels" or reference points for passers-by among the CUC at night. With the new LED technology, a 2700K can be achieved and dimmed in order o respect the natural nighttime environment.

Its location will respond to the current one in the campus, besides relocating some in certain areas that help to harmoniously complement the exterior lighting.

Engineering faculty parking lot area 115

20% dimmed

See appendix 3 for historical detail and HL01 luminaries’ specifications section.

HL01 = Historical Luminary 01

40% dimmed

TYPICAL ELEVATION

116

TYPE 6: HISTORICAL MONOLITHS’ LIGHTING For the existing pre-cast “monoliths” concrete structures luminaries, the same integral restoration and technological update with LED lighting is envisioned, ensuring in this way that lighting can be controlled and adjusted to the different lighting scenarios for the CUC, also looking to improve the efficiency in energy consumption and light quality.

No Man’s Land Area 117

ML = Monolith Luminary

NO MAN’S LAND SCHEMATIC PATHWAY ELEVATION

STREET OF DIRECTIVE-CULTURAL CENTER, SCHEMATIC ELEVATION

See appendix 2 for historical detail and ML luminaries’ specifications section.

118

In this case, the idea is to recover the original lighting design found in the plans of the UCV archive, adding new luminaires in the top of the tubes of the enclosure and in one lower end of the arch’s structure, helping to uniformly illuminate both the internal surface of the structure and the area below.

Accentuating a majestic starting point towards the illuminated knowledge that the CUC campus represents.

5.3.6) CUC MAIN ENTRANCE ARCHES

North-East (Tamanaco) Entrance 119

MAIN ENTRANCE TYPE - LONGITUDINAL SECTION

FL01 = Floodlights type 01 FL02 = Floodlights type 02 IU = Inground Up lighting type 01

FL01 (x2) FL02 (x5)

See Appendix 6 for historical details and FL02 luminaries’ specifications section.

IU01

See Appendix 6 for historical details and FL01 luminaries’ specifications section.

LIGHTING FLOORPLAN

MAIN ENTRANCE TYPE TRANSVERSE SECTION

FL01-01 FL02-01 FL02-02 FL02-03 FL02-04 FL02-05

IU01-01

See IU01 luminaries’ specifications section.

120

FL01-02

121

With 412 meters in length, is the first covered corridor encountered after accessing through Tamanaco Main entrance, communicating to the Institute of Tropical Medicine. Here the historical downlights will be refurbished with LED lamps and anti-vandalism covers. Also, up-lighting the internal curved surface with LED Linear luminaries to enhance the architecture and the levels of vertical illumination in the corridor, dim controlled.

5.3.7) COVERED CORRIDOR TYPE 1

122

LIGHTING FLOORPLAN

TRANSVERSE SECTION HL02

Power supply and dimmer in custom IP67 case

Power supply and dimmer in custom IP67 case.

LL01 (X9) LL01 (X9) HL02-…

HL02-02

HL02-01

See HL02 luminaries’ specifications section.

See LL01 luminaries’ specifications section.

HL02-02

LL01- …

LL01-09

LL01-08

LL01-07

LL01-06

HL02-01

LL01-05

LL0 -04

LL01-03

LL01-02

LL01-01

LONGITUDINAL SECTION HL02 = Historical Luminary type 02 LL01 = Linear Luminary type 01

123

HISTORIC VALUES

PROPOSAL VALUES

124

HISTORIC VALUES

PROPOSAL VALUES

125

COVERED CORRIDOR TYPE 3

With 438 meters in length, is the corridor marking the change from the academic style to the modern era, having the institutes of Experimental and Anatomopathological Medicine nearby. Here, the historical downlights will be refurbished with LED. Also, Wall-washers LED linear luminaries will be placed in front of the hollowed blocks area, enhancing the illumination in the blackboards and the ambient light in the area, with dimming possibilities if necessary.

126

To Power supply and dimmer in custom IP67 case

Power supply and dimmer in custom IP67 case

LIGHTING FLOORPLAN

TRANSVERSE SECTION

HL03-02 LL02-01

LL02-03

LL02-02

LL02-04 LL02

HL03-02

HL03-01

HL03-03

See LL02 luminaries’ specifications section.

See HL03 luminaries’ specifications section.

HL03-03

HL03-02

HL03-01

LL02-(x2)

LL02-(x2)

LONGITUDINAL SECTION HL03 = Historical Luminary type 03 LL02 = Linear Luminary type 02

127

HISTORIC VALUES

PROPOSAL VALUES

128

HISTORIC VALUES

PROPOSAL VALUES

129

COVERED CORRIDOR TYPE 4

With 221 meters in length, this corridor type delimits the surroundings of the faculty of Architecture and Urbanism, and links directly with the corridor type 5.

Here, the historical downlights will be refurbished with LED. Furthermore, LED linear luminaries will be placed up-lighting the ceiling’s inclined geometry or wall-washing the mural from Mateo Manaure, in order to enhance the ambient light in the area, with dimming possibilities if necessary.

130

To Power supply and dimmer in custom IP67 case

LIGHTING FLOORPLAN

TRANSVERSE SECTION HL02-01

HL02-03

HL02-03

HL02-01

HL02-02 LL01-01

LL01-04

LL01-02

LL01-03

HL02-02

LL01 (x4)

HL02-01

See LL01 luminaries’ specifications section.

See HL02 luminaries’ specifications section.

Power supply and dimmer in custom IP67 case HL02-02

HL02-03

HL02-01

LL01 (x4)

LONGITUDINAL SECTION

131

HL02 = Historical Luminary type 02 LL01 = Linear Luminary type 01

HISTORIC VALUES

PROPOSAL VALUES

132

HISTORIC VALUES

PROPOSAL VALUES

133

COVERED CORRIDOR TYPE 5

Starting from Las Tres Gracias main entrance, and approximately 1.220 meters in length, this corridor is one of the most iconic from the CUC, marking the climax of the modernity in the campus. Here, besides refurbishing the historical flush downlights, LED linear luminaries will be placed beneath each vaulted wave, looking to enhance its iconic architecture while increasing the ambient illumination in the vertical plane, with dimming possibilities if necessary.

134

LIGHTING FLOORPLAN

TRANSVERSE SECTION HL02

To power supply and dimmer in custom IP67 case

LL03 (x8)

HL02-02

LL03-01

LL03 (x8)

HL02-01

Power supply and dimmer in custom IP67 case

LL03-02

LL03-03

LL03-04

HL02-01

v

See LL03 luminaries’ specifications section.

See HL02 luminaries’ specifications section.

HL02

LL03 (X8)

LL03 (X8)

LONGITUDINAL SECTION

135

HL02 = Historical Luminary type 02 LL03 = Linear Luminary type 03

HISTORIC VALUES

PROPOSAL VALUES

136

HISTORIC VALUES

PROPOSAL VALUES

137

5.3.11) GARDENS

On these areas, the intention is to enhance the ambient illumination into acceptable light levels, with low homogeneous illuminance levels, looking to reduce the eye’s adaption time into a darker environment. In the same way, been respectful to the natural environment given the CUC importance as a urban wildlife reservoir of birds and other animal species in Caracas. Moreover, concrete benches will be equipped with indirect linear light to provide a soft illumination in the area beneath the person, ensuring facial recognition. Finally, light posts will be provided with CCTV surveillance circuit, along with Wi-Fi connection.

138

PT01

GARDEN OF ANATOMOPATHOLOGICAL AND EXPERIMENTAL MEDICINE INSTITUTES PT01

PT01

PT01

COVERED CORRIDOR TYPE 2

PT01

PT01 PT01

BL

HL01 BL

PT01 PT01

PT01 PT01

BL

BL

PT01

BL PT01

BL

BL PT01 PT01

EXPERIMENTAL MEDICINE INSTITUTE

A

ANATOMICAL MEDICINE INSTITUTE

A’

BL PT01

BL

PT01 PT01

PT01 = Pole Tope Luminary 01 (x28 units) HL01 = Historical Luminary 01 (x3 units) BL = Bench Luminary (x18 units)

PT01

BL BL

PT01 HL01

BL

HL01 PT01 PT01 BL

BL

PT01

PT01

BL PT01 BL

PT01

PT01

TO COVERED CORRIDOR TYPE 3

139

BL

PT01 BL

HISTORIC VALUES

PROPOSAL VALUES

140

PROPOSAL VALUES

PROPOSAL VALUES

141

COVERED PLAZA

GARDEN OF NO MAN’S LAND PT01 = Pole Tope Luminary 01 (x16 units) ML = Monolith Luminary (x20 units) IU02= Inground Up lighting type 2 (x3)

AULA MAGNA AUDITORIUM PT01

COVERED PLAZA PT01

ML ML ML

PT01 PT01

CONCERT HALL CENTRAL LIBRARY BUILDING

ML

PT01

PT01

ML

PT01

ML ML PT01 IU02 (x3)

PT01

ML

ML PT01 ML

ML

ML

PT01

READING ROOM BUILDING

PT01

ML ML

PT01 PT01 ML

PT01

ML ML

PT01 ML

HUMANITIES AND LAW FACULTY

PT01

142

SECTION A-A’ – GARDEN OF MEDICAL INSTITUTES

HL0 1

PT01

BL PT01 = Pole Tope Luminary 01 (x16 units) ML = Monolith Luminary (x20 units) IU02 = Inground Up Lighting type 2 (x3)

SECTION B-B’ – GARDEN OF NO MAN’S LAND

WW01 (x20 per side)

PT01

HL02

IU02 (x3)

See HL02, IU02, ML & PT01 luminaries’ specifications section.

143

ML

HISTORIC VALUES

PROPOSAL VALUES

144

HISTORIC VALUES

PROPOSAL VALUES

145

HISTORIC VALUES

PROPOSAL VALUES

146

PROPOSAL VALUES

PROPOSAL VALUES

147

5.4) LUMINARIES’ ESPECIFICATIONS SL01. STREET LIGHTING TOP MOUNTED LUMINARIES (SINGLE AND DOUBLE). IP66, Class I. IK08. Marine-grade, die-cast aluminum alloy. 5CE superior corrosion protection including PCS hardware. Silicone CCG Controlled Compression Gasket. RFC Reflection Free Contour main lens. Integral EC electronic converter in thermally separated compartment. CAD-optimized optics for superior illumination and glare control. OLC One LED Concept. Factory installed LED circuit board. The luminaire is factory-sealed and does not need to be opened during installation. Recommended mounting height 5.0 - 8.0 m, depending on lamp type selected.

Brackets to be ordered separately. Pole Color: Anthracite. DALI Dimmable.

148

SL02. STREET LIGHTING SINGLE BRACKET MOUNTED. IP66, Class I. IK08. Marine-grade die-cast aluminum alloy. 5CE superior corrosion protection including PCS hardware. Silicone CCG® Controlled Compression Gasket. Safety glass lens, hinged. PMMA OLC® optics for superior illumination and glare control. Recommended mounting height 2.5 - 6.0 m, depending on wattage selected. Color: Anthracite. DALI Dimmable.

108-0713 KP1-L-230 Pole bracket, single. C1: 450mm, DxL1: 76 x 130mm, H1: 525mm

149

SL01 & SL02. TECHNICAL DRAWINGS. DETAILS.

108-0713 KP1-L-230 Pole bracket, single

108-0981 RV2-60 Pole bracket, double

WE-EF / AM-K Pole. tubular steel, tapered, seamless.

150

PT01.POLE TOPE LUMINARY. Top element 200-2 AR - L1.9 WIFI AP48V, for column light City Elements 200-2. Constructed from aluminum tube section ø 200 mm.

Module length 1000 mm without inspection door, cylindrical diffuser made of PMMA. Light distribution: rotationally symmetric (Characteristic: for place illumination).

Elec. equip.: LED LEVO3 HP O8 approx. 50W (custom made 2700K) With electronical ballast (220-240V/50-60Hz) - with CLM (350-500mA, 35-50W) - without CLM (500mA, 50W) Ingress protection IP65, Protection rating I, with dimming via DALI, StepDim or AstroDim AND/OR with. Equipped with Wi-Fi access point 48V Connected via PoE, 48-52V, 0,5A Max. Power Consumption 8W Interface RJ45, Ethernet Port (10/100) IEEE 802.11 b/g/n Operating Frequency: 2412-2462 MHz FCC Part 15.247, IC RS210, CE Range up to 200 m ==> pre-wired (9000 mm) Colour: DB 703 or all RAL- (classic- single shades), Hess-DB and Hess-Glimmer-colors. RAL pearl-micametallic-shades on request.

TOP ELEMENT 200-2 AR-L1.9 WIFI

INTERMEDIATE ELEMENT 200-2 CCTV

Technical data Rated input power 50 W Ingress protection IP65 Safety class I ULOR 3,6% Variant AR - Without shielding, Wi-Fi Area exposed to wind 0,2 m² Lumen output: 4564

Technical data Ingress protection IP66 Safety class I IK-Value IK10 Variant BK - CCTV Area exposed to wind 0,1 m² Height [mm] 500

Light distribution: Symmetric

For column light City Elements 200-2. Housing made of aluminum ø 200 mm. Element height 500 mm. Equipped with HD security camera MOBILE DOME VIVOTEK. Cover of the recess, painted black Lens tilt able by up to -90°. Camera detection: 96° (horizontal), 53° (vertical), 115° (diagonal). Opening angle element approx. 120° Connected via PoE, 48V, 0.5A. Max. Power Consumption max. 4.2 W Interface RJ45, Ethernet Port (10/100). 2,1 Megapixel CMOS Sensor Card Slot for Micro SD / SDHC / SDXC .30fps @ 1920 x 1080.

EN50155 Compliance for Professional Mobile Surveillance. IK10rated Ingress protection IP 67 (camera).

Step Dim programmed Dims via a control lead Dims to 30% / 50% / 70% (For other dim levels, consult factory) Programmed via software Features above are standard 151

PT01. TECHNICAL DRAWINGS. DETAILS.

WITH SURVEILANCE CAMERA

WITHOUT SURVEILANCE CAMERA

Top element

Intermediate element

Base element

152

HL01. HISTORICAL LUMINARY 01. 24 V outdoor rated linear LED strip delivered in custom lengths up to 13 ft (4m). Polyurethane encapsulation offers a premium water proof sealing, UV resistance, chemical stability and protection against abrasion. White lower casing for better light extraction thus higher efficacy. Delivered complete with IP67 mini connectors on both ends. Reel-to-Reel (R2R) produced flexible circuit board material with LED Linear™ Tj Away® technology for optimal heat management. Constant light output and extended lifetime thanks to an integrated circuit (IC) driver regulation. One Bin Only® top quality LED’s with 120° beam angle and excellent color rendering up to CR 95. 3 step McAdam ellipse guarantees consistent color temperature and light quality at a life-time of >60,000 hrs. L80/B10 and >30,000 for RGB. Extended 6-digit photometric code ensures color consistency over the rated lifetime. Fully dimmable.

VarioLED HD25 IP67 Static White. Custom length 1270mm Type High Density 25 CRI: >90 CCT: 2700 Light Distribution: 120° IP67 Lumen Output: 3231

153

HL01. TECHNICAL DRAWINGS. DETAILS.

Power supply / dimmable 40 W (7.6 Wattsx.30m) Longitudinal

Transverse

Bottom view

VarioLED HD25 IP67 Static White. Custom length 1270mm

154

Plastic prismatic transparent cover from historical luminary (See appendix 4)

ML. MONOLITH LUMINARY. 24 V outdoor rated linear LED strip delivered in custom lengths up to 13 ft (4m). Polyurethane encapsulation offers a premium water proof sealing, UV resistance, chemical stability and protection against abrasion. White lower casing for better light extraction thus higher efficacy. Delivered complete with IP67 mini connectors on both ends. Reel-to-Reel (R2R) produced flexible circuit board material with LED Linear™ Tj Away® technology for optimal heat management. Constant light output and extended lifetime thanks to an integrated circuit (IC) driver regulation. One Bin Only® top quality LED’s with 120° beam angle and excellent color rendering up to CR 95. 3 step McAdam ellipse guarantees consistent color temperature and light quality at a life-time of >60,000 hrs. L80/B10 and >30,000 for RGB. Extended 6-digit photometric code ensures color consistency over the rated lifetime. Fully dimmable.

VarioLED HD25 IP67 Static White. Custom length 645mm Type High Density 25 CRI: >90 CCT: 2700 Light Distribution: 120° IP67 Lumen Output: 1640

155

ML. TECHNICAL DRAWINGS. DETAILS

Cable to Power supply / Dimmer

Monolith’s concrete element SECTION

ELEVATION Power supply / Dimmer 15 Watts (7.6Wx.30m).

Inspection door for LED components

Metal sheet for casing the LED luminary and its components inside Monolith structure

VarioLED HD IP67 Static White. Custom length 645mm BOTTOM

156

FL01. FLOODLIGHTS MAIN ENTRANCE 01. Housing made of corrosion‑resistant die‑cast aluminum AlSi12, polyester powder coated by high‑quality and UV‑stabilized coating process, Color: silver grey , all exterior parts are stainless steel, tempered safety glass, anti‑reflective coating from 1 side, dark screen-print, silicon gasket, closure with 4 stainless steel screws, for installation on poles Ø 60 ‑ 100 mm, tilt-able base made of powder coated aluminum, 2 drilled holes Ø 9 mm, spacing 95 mm, 1 center hole Ø 13.5 mm, tilt range: 90°, 360° adjustable, cable gland: M20, connecting terminal: 3 pole, precise PMMA optics, integral driver (AC/DC), weight 4.7 kg.

Monoflood 3 8 203 256 039. (Customized CCT to 2700)

157

FL02. FLOODLIGHTS MAIN ENTRANCE 02. Housing made of corrosion‑resistant die‑cast aluminum AlSi12, polyester powder coated by high‑quality and UV‑stabilized coating process, Color: silver grey , all exterior parts are stainless steel, tempered safety glass, anti‑reflective coating from 1 side, dark screen-print, silicon gasket, closure with 4 stainless steel screws, for installation on poles Ø 60 ‑ 100 mm, tilt-able base made of powder coated aluminum, 2 drilled holes Ø 9 mm, spacing 95 mm, 1 center hole Ø 13.5 mm, tilt range: 90°, 360° adjustable, cable gland: M20, connecting terminal: 3 pole, highly efficient aluminum reflector, integral driver (AC/DC), protection type ip65, protection class I, impact resistance ik08, windage area 0,034 m², dimensions (L×H×W): 200 × 156 × 200 mm, weight 4.4 kg.

Monoflood 3 8 203 256 059. (Customized CCT to 2700)

158

IU01. INGROUND UPLIGHTING 01. Housing of corrosion‑resistant die‑cast aluminum AlSi12, double polyester powder coated by high‑quality and UV‑stabilized coating process, Color: black ral 7021, all exterior parts are stainless steel, tempered safety glass flush with frame, anti‑reflective coating from 1 side, dark screen-print, for loads up to max. 5000 kg (according to IEC / EN 60598‑2‑13), silicon gasket, cover frame and closure with 6 stainless steel screws, cable gland: M20, connecting terminal: 3 pole, highly efficient anodized rotationally symmetrical reflector, wall washer lens with optical structure and integral, adjustable glare shield, tilt range: 0‑13°, lockable, 0,8 m cable H07RN‑F3G1, integral driver (AC/DC), protection type ip68, protection class I, impact resistance ik10, dimensions: Ø 180 mm, width 152 mm, weight 2.7 kg. Luminous Flux: 424 lm.

Uplight 180 180 8 656 016 009. (Customized CCT to 2700)

159

TECHNICAL DRAWINGS. DETAILS

FL02. Monoflood 3. 8 203 256 059

FL02. Monoflood 3. 8 203 256 059 Tubes Ø: 7.5 cms

FL01. Monoflood 3. 8 203 256 039

160

IU01. Uplight 180. 180 8 656 016 009

IU02. INGROUND UPLIGHTING 02. Housing of corrosion‑resistant die‑cast aluminum AlSi12, double polyester powder coated by high‑quality and UV‑stabilized coating process, Color: black ral 7021, all exterior parts are stainless steel, tempered safety glass flush with frame, anti‑reflective coating from 1 side, dark screen-print, for loads up to max. 4500 kg (according to IEC / EN 60598‑2‑13), silicon gasket, cover frame and closure with 6 stainless steel screws, cable gland: M20, connecting terminal: 3 pole, highly efficient anodized rotationally symmetrical reflector, wall washer lens with optical structure and integral, adjustable glare shield, tilt range: 0‑18°, lockable, with Heat slide mechanism for optimal heat dissipation, 0,8 m cable H07RN‑F3G1, integral driver (AC), cri > 80, max 2 sdcm, service life L90/B10 > 50.000 h, Beam angle (fwhm): 20° / 78°, wattage: 36 W, protection type ip68 (1,5 m), protection class I, impact resistance ik10, dimensions: Ø 260 mm, width 152 mm, weight 5.7 kg. delivered lumens 41 lm/W, luminous flux: 1464 lm, Uplight 260 8 665 016 009. (Customized CCT to 2700)

161

IU02. TECHNICAL DRAWINGS. DETAILS. MATEO MANAURE MURAL IN GARDEN OF NO MAN’S LAND.

TRANSVERSE SECTION

IU02. Uplight 260. 8 665 016 009 (3 units)

162

HL02/03. HISTORICAL LUMINARY 02/03. Lighting elements flush with the interior plane of the ceiling’s concrete slabs, distributed along the corridors in an arrangement of up to two parallel lines, using bronze metal receptacles, containing E27 sockets, providing flexibility if classic incandescent bulbs wants to be placed, or, to accommodate a standard LED retrofit bulbs, equivalent to 100W (10.5 W - 1521 lm). To add an extra security level to avoid vandalism or to be stolen, these receptacles will be attached to the concrete slabs with screws. The internal face will be covered using a K09 impact resistant glass cover, leaving 5 mm of air gap in between the cover and the receptacles, allowing the air to flow inside. HL03 has a variation, explained in the technical drawings.

LED classic 100W A60 WW FR ND 1CT/10 General Information Cap-Base E27 [ E27] EU RoHS compliant Yes Nominal Lifetime (Nom) 15000 h Technical Type 10.5-100W Light Technical Color Code 827 [ CCT of 2700K] Luminous Flux (Nom) 1521 lm Color Designation Warm White (WW) Correlated Color Temperature (Nom) 2700 K Luminous Efficacy (rated) (Nom) 144.00 lm/W Color Consistency <6 Color Rendering Index (Nom) 80 LLMF At End of Nominal Lifetime (Nom) 70 % Operating and Electrical Input Frequency 50 to 60 Hz Power (Nom) 10.5 W Lamp Current (Nom) 90 mA Wattage Equivalent 100 W Starting Time (Nom) 0.5 s Warm Up Time to 60% Light (Nom) 0.5 s Power Factor (Nom) 0.52 Voltage (Nom) 120-240 V Temperature T-Case Maximum (Nom) 55 °C Controls and Dimming Dimmable No Mechanical and Housing Bulb Finish Frosted 163

TECHNICAL DRAWINGS. DETAILS

HL02. Typical section Concrete Slab

Bronze metal Receptacle, attached to the internal ceiling concrete slabs.

Safety screws, with 5 mm air gap between the cover and the receptacle

Safety glass cover.

HL03. Typical section 0.05x0.05x.16 Electrical box for electricity cable supply tube Ø = 1“

0.05x0.05x.16 Electrical box for electricity cable supply tube Ø = 1“

E 27 socket.

Concrete Slab

Historical Luminary frosted glass cover in corridor type 3 (See appendix 7).

164

.34x.34x.18 metal receptacle, following the original detail in appendix 7)

LL01. LINEAR LUMINARY 01. 24V, IP67 protected and IK10 certified, linear surface-mounted LED luminaire with small form factor. Polyurethane encapsulation offering a premium water proof sealing, UV resistance, chemical stability and protection against abrasion. Extruded H-shaped aluminum body powder coated in white with cable runway on the back. Delivered with male/female mini IP67 connectors and translucent end caps for a perfect light continuity. Allows the use of 3 linear lenses (15°, 30° or 60°) integrated in the encapsulation material. Ideal solution for wall grazing (10°) or wide flood illumination (30° and 60°) with precise light control for outdoor or humid environments. Light source assembled using Reel to Reel (R2R) production process supporting LED Linear™ Tj Away® thin flexible circuit board technology. Outstanding lifetime of > 60,000hrs L80/B10 (> 30,000 hrs. RGB). Embeds high quality Japanese LEDs with 3 step Macadam’s (SDCM3) binning centered on target CCT (One Bin Only) with an extended photometric code of Wxxx / 339 ensuring exceptional color consistency over the rated lifetime. Premium color rendition with CRI up to 95 and TM-30-15 up to Rf = 91 / Rg = 101. Consistent light intensity all along the luminaire length. Fully dimmable. Engineered and produced in Germany.

KALYPSO TC HYDRA HD10 W927 30D IP67 1826,5mm Type High Density 10 CRI: >90 CCT: 2700 Light Distribution: 30° IP67

Technical Details

165

LL01. TECHNICAL DRAWINGS. DETAILS. CORRIDOR TYPE 1 Power supply and dimmer in custom IP67 case 150 W (3 wattsx.030m)

Concrete Slab

Power feed cable to the power supply and dimmer case

LL01. KALYPSO TC HYDRA HD10 W927 30D IP67 1826,5 (9 units per circuit) Custom made mounting clip, attached to the concrete slab and placed every .60m longitudinally in each luminary.

Screwâ&#x20AC;&#x2122;s attachment

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LL02. LINEAR LUMINARY 02. 24V, IP67 protected and IK10 certified, linear surface-mounted LED luminaire with small form factor. Polyurethane encapsulation offering a premium water proof sealing, UV resistance, chemical stability and protection against abrasion. Extruded H-shaped aluminum body powder coated in white with cable runway on the back. Delivered with male/female mini IP67 connectors and translucent end caps for a perfect light continuity. Allows the use of 3 linear lenses (15°, 30° or 60°) integrated in the encapsulation material. Ideal solution for wall grazing (10°) or wide flood illumination (30° and 60°) with precise light control for outdoor or humid environments. Light source assembled using Reel to Reel (R2R) production process supporting LED Linear™ Tj Away® thin flexible circuit board technology. Outstanding lifetime of > 60,000hrs L80/B10 (> 30,000 hrs. RGB). Embeds high quality Japanese LEDs with 3 step Macadam’s (SDCM3) binning centered on target CCT (One Bin Only) with an extended photometric code of Wxxx / 339 ensuring exceptional color consistency over the rated lifetime. Premium color rendition with CRI up to 95 and TM-30-15 up to Rf = 91 / Rg = 101. Consistent light intensity all along the luminaire length. Fully dimmable. Engineered and produced in Germany.

KALYPSO TC HYDRA HD6 W927 10D IP67 1826,5mm Type High Density 6 CRI: >90 CCT: 2700 Light Distribution: 10° IP67

Technical Details

167

LL02. TECHNICAL DRAWINGS. DETAILS. CORRIDOR TYPE 3 Power supply and dimmer in custom IP67 case. 20 Watts (1.8Wx0.30m)

Power feed cable to the power supply and dimmer case Concrete Slab Kalypso IP67 Adjustable Mounting Clip.

Aluminum adjustable surface mounting bracket. Tilts 60° in each direction with spring loaded mechanism. Recommended to use every 0.60m. Silver finish. 130x25.4x38mm

LL.02 KALYPSO TC HYDRA HD6 W927 10D IP67 1826,5 (2 units per circuit)

168

LL02. TECHNICAL DRAWINGS. DETAILS. CORRIDOR TYPE 4

Power supply and dimmer in custom IP67 case (60 W (1.8 Wattsx0.30m)

LL01. KALYPSO TC HYDRA HD10 W927 30D IP67 1826,5 (4 units per circuit) Kalypso IP67 Adjustable Mounting Clip.

Aluminum adjustable surface mounting bracket. Tilts 60° in each direction with spring loaded mechanism. Recommended to use every 0.60m. Silver finish. 130x25.4x38mm

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Concrete beam

LL03. LINEAR LUMINARY 03. 24V, IP67 protected and IK10 certified, linear surface-mounted LED luminaire with small form factor. Polyurethane encapsulation offering a premium water proof sealing, UV resistance, chemical stability and protection against abrasion. Extruded H-shaped aluminum body powder coated in white with cable runway on the back. Delivered with male/female mini IP67 connectors and translucent end caps for a perfect light continuity. Allows the use of 3 linear lenses (15°, 30° or 60°) integrated in the encapsulation material. Ideal solution for wall grazing (10°) or wide flood illumination (30° and 60°) with precise light control for outdoor or humid environments. Light source assembled using Reel to Reel (R2R) production process supporting LED Linear™ Tj Away® thin flexible circuit board technology. Outstanding lifetime of > 60,000hrs L80/B10 (> 30,000 hrs. RGB). Embeds high quality Japanese LEDs with 3 step Macadam’s (SDCM3) binning centered on target CCT (One Bin Only) with an extended photometric code of Wxxx / 339 ensuring exceptional color consistency over the rated lifetime. Premium color rendition with CRI up to 95 and TM-30-15 up to Rf = 91 / Rg = 101. Consistent light intensity all along the luminaire length. Fully dimmable. Engineered and produced in Germany.

KALYPSO TC HYDRA HD10 W927 60D IP67 951,5mm Type High Density 10 CRI: >90 CCT: 2700 Light Distribution: 60° IP67

Technical Details

170

LL03. TECHNICAL DRAWINGS. DETAILS. CORRIDOR TYPE 5

Power supply and dimmer in custom IP67 case (80W (3.0 Wattsx0.30m)

LL03. KALYPSO TC HYDRA HD10 W927 60D IP67 951,5 (8 per circuit) Kalypso IP67 Adjustable Mounting Clip.

Aluminum adjustable surface mounting bracket. Tilts 60° in each direction with spring loaded mechanism. Recommended to use every 0.60m. Silver finish. 130x25.4x38mm 171

Concrete beam

BL. BENCH LUMINARY. 24 V outdoor rated linear LED strip delivered in custom lengths up to 13 ft (4m). Polyurethane encapsulation offers a premium water proof sealing, UV resistance, chemical stability and protection against abrasion. White lower casing for better light extraction thus higher efficacy. Delivered complete with IP67 mini connectors on both ends. Reel-to-Reel (R2R) produced flexible circuit board material with LED Linear™ Tj Away® technology for optimal heat management.

Constant light output and extended lifetime thanks to an integrated circuit (IC) driver regulation. One Bin Only® top quality LED’s with 120° beam angle and excellent color rendering up to CR 95. 3 step McAdam ellipse guarantees consistent color temperature and light quality at a life-time of >60,000 hrs. L80/B10 and >30,000 for RGB. Extended 6-digit photometric code ensures color consistency over the rated lifetime. Fully dimmable.

VarioLED HD10 IP67 Static White. Custom length 1770mm Type High Density 10 CRI: >90 CCT: 2700 Light Distribution: 120° IP67 Lumen Output: 1341

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BL. TECHNICAL DRAWINGS. DETAILS

ELEVATION

SECTION

Inspection door for LED components

BOTTOM VarioLED HD10 IP67 Static White. Custom length 1770mm (2 units per circuit)

Benchâ&#x20AC;&#x2122;s concrete element

Metal sheet for casing the LED luminary and its components inside Monolith structure

Power supply / Dimmer 40 Watts (3Wattsx0.30m) 173

WW01. WALL WASHING LUMINARY 01. housing made of extruded aluminum and corrosion‑resistant die‑cast aluminum AlSi12, polyester powder coated by high‑quality and UV‑stabilized coating process, Color: silver grey , all exterior parts are stainless steel, UV stabilized, impact‑resistant polycarbonate cover with partial frosting for uniform light diffraction, silicon gasket, closure with 2 stainless steel screws, mounting flanges: 2 drilled holes Ø 6.5 mm, spacing L2, tilt range: 220°, cable gland: M20, connecting terminal: 5 pole, highly efficient optics made of transparent thermoplastic for precise lighting tasks , integral driver (1‑10V), cri > 80, max 2 sdcm, service life L90/B10 > 50.000 h, Beam angle (fwhm): 12° / 108°, wattage: 38 W, delivered lumens 71 lm/W, protection type ip67, protection class I, impact resistance ik10, windage area 0,1 m², dimensions (L×H×W): 1562 × 58 × 54 mm, weight 4.2 kg. luminous flux: 2647 lm Ecoline 8 792 356 209 (Customized CCT to 2700)

174

Ecoline 8 793 356 209 (Customized CCT to 2700)

WW01. TECHNICAL DRAWINGS. DETAILS. CENTRAL LIBRARY BUILDING

Ecoline 8 793 356 209 (Customized CCT to 2700)

Ecoline 8 792 356 209 (Customized CCT to 2700)

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devices that do not meet the permitted standards. For this reason, good components must always be sought to ensure the required light quality.

6) CONCLUSION After this research and design within the permitted scope, different things can be concluded regarding the subject of lighting, not only in open spaces, but also in the historical, social and heritage aspects.

It is also necessary to have a consensus that is what users seek from the spaces they inhabit daily, and where a multidisciplinary team can help to take comprehensive solutions to help minimize the problems that afflict the university community, Only lighting does not solve all problems, but good artificial lighting can contribute to people's emotional well-being.

The fact that the CUC is a built heritage, gives not only an added complexity to any intervention carried out in the place, but also any decision must also be at the service of users who use it in present times.

The University City of Caracas continues to be a place with an incredibly high heritage value for its modern, organic and colorful genius, where despite the circumstances, its users are aware of it. That is why light can help to reveal paths, to perceive those around him or where they are immersed, with their textures, colors and natural landscape, which often go unnoticed in the dark and that under such conditions can represent a moment for rediscovering them on your way, both on a day-to-day basis or at special moments, that perhaps could be the added value that can be conferred on the university campus.

The current socio-economic conditions of Venezuela in the 21st century are not the same as in the last century, and if only restoration decisions were made or strictly imitate historical lighting, for example, it would not meet the minimum requirements demanded by the standard, in addition, would make the night conditions in the outdoor circulation spaces even more inhospitable, losing its quality as a city and university campus, contributing to the cycle of inhabiting and vandalizing.

There is also no reason for quick, cheap and extreme decisions to improvise lighting solutions, considering high levels of illuminance with daylight-like light, as a belief of this would lessen completely the problem of violence or vandalism in urban areas. Yet many studies should be carried out to determine the veracity of this statement, but in the meantime, the consequences of these actions on human health and wildlife have also been demonstrated, in addition to negatively altering the perception of the university city both in the daytime and in the night.

Returning to the questions in the introduction, technology in the field of artificial lighting continues to advance, and LEDs represent great potential in this heritage area, since in addition to its well-known energy efficiency, it can help to illuminate more precisely and effectively areas that in the past they were not possible.

However, it is important in LEDâ&#x20AC;&#x2122;s luminaries to consider the health risks that may also be involved with respect to the blue component in its light wavelength, and the flickering that can be caused by drivers and control

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REFERENCES Bibliographic citations: CHAPTER 1 1 – Villanueva, Carlos Raúl. Manuscript Text. Caracas, December 22, 1976.

2 – Villanueva, Carlos Raúl. The City of the Past, of the Present and of the Future (1963). Caracas, 1980, P.57.

3 – Cepeda, Alexander. Electric Engineer, professor and director of Extension Coordination of the Faculty of Electric Engineering of the UCV. E-mail interview regarding the history and current situation of the illumination in public spaces of the CUC – UCV. Caracas, April 25th, 2020.

4 – Villanueva, Carlos Raúl. The integration of the arts, p.8.

5 – Moholy-Nagy, Sybils. Book: Villanueva in Sybils Moholy-Nagy. Caracas, 1999. p.170.

Bibliographic citations: CHAPTER 2 6 – C.R. Villanueva. Conference published under the title "The integration of the arts" in the magazine "Architecture, space and form". no place, no Date.

7 – Interview cited on the book “En Busca de lo Sublime” by Silvia Hernandez de Lasala, to the Dr. Engineer Armando Vegas at his home in Caracas, in Colinas de Bello Monte neighborhood, on November 14, 1995. P.55.

8 – Opinion cited from Dr. Armando Vegas, on the book “En Busca de lo Sublime” by Silvia Hernandez de Lasala. p.59.

9 – Idem.

10 – Silvia Hernández de Lasala. En Busca de lo Sublime, Editorial Universidad Central de Venezuela, 2006. p.55.

11 – Interview cited on the book “En Busca de lo Sublime” by Silvia Hernandez de Lasala, to the Dr. Engineer Armando Vegas at his home in Caracas, in Colinas de Bello Monte neighborhood, on November 14, 1995. p.15.

12 – Silvia Hernández de Lasala. En Busca de lo Sublime, Editorial Universidad Central de Venezuela, 2006. p.57.

13 – Report on the University City of Caracas, prepared for the Ministry of Public Works and the Ministry of Education of the United States of Venezuela by Frank McVey (Ph.D., L.L.D, L.H.D.), president emeritus of the university of Kentucky, (Caracas, June - 1943, Armando Vegas. Opinion Cited, p. 145-179) 14 – Creación del instituto de la Ciudad Universitaria. Decreto nro. 196 (2 de octubre de 1943), en Armando Vegas, op. Cit., pp-195-199) 15 – Interview cited on the book “En Busca de lo Sublime” by Silvia Hernandez de Lasala, to the Dr. Engineer Armando Vegas at his home in Caracas, in Colinas de Bello Monte neighborhood, on November 14, 1995. p.17.

(16 – Silvia Hernández de Lasala. En Busca de lo Sublime, Editorial Universidad Central de Venezuela, 2006. p.61)

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17 – Interview cited on the book “En Busca de lo Sublime” by Silvia Hernandez de Lasala, to the Dr. Engineer Armando Vegas at his home in Caracas, in Colinas de Bello Monte neighborhood, on November 14, 1995. p.233.

18 – Silvia Hernández de Lasala. En Busca de lo Sublime, Editorial Universidad Central de Venezuela, 2006. p.62 19 – The Man: Villanueva. Fundación Villanueva Website. http://fundacionvillanueva.org/FV05/ingles/iintro05.html 20 – C.R. Villanueva, Villanueva, personal reflections on the architect and architecture. Lecture given when he was elected a corresponding member of the French Academy of Architecture, 1954.)

21 – The Integration of the arts at the Central University of Venezuela, Dr. Esther Morales, magazine of contemporary art and aesthetics, number 10 "Philosophy, its margins and its drifts", Merida, January-June 2007 22 – Idem.

23 – Gorka Dorronsoro interview, close Villanueva’s collaborator, Urbanism Institute of the FAU-UCV. April 14th, 1994. Urbana Magazine nr. 14-15.

24 – Silvia Hernández de Lasala. En Busca de lo Sublime, Editorial Universidad Central de Venezuela, 2006. p.73) 25 – UNESCO World Heritage listed buildings website: https://whc.unesco.org/en/list/986/description/ 26 – UNESCO World Heritage nomination document # 986.

27 – C.R. Villanueva, Architecture current tendencies (1963) Caracas, 1980, P.47 -48.

28 – C.R. Villanueva, Architecture current tendencies (1963) Caracas, 1980, p.52.

29 – C.R. Villanueva, Architecture current tendencies (1963) Caracas, 1980, p.53.

Bibliographic citations: CHAPTER 3 30 – Average weather in Caracas, Venezuela year-round. https://weatherspark.com/y/27706/Average-Weather-in-Caracas-Venezuela-Year-Round 31 – Gómez, Hannia. President of the Foundation for Urban Memory and the Venezuela chapter of DoCoMoMo Council. (Acronym for Documents for the Conservation of the Modern Movement). In an article by Mabel Sarmiento Garmendia. 07/25/2017. La Ciudad Universitaria de Caracas, una Maravilla amenazada. https://iamvenezuela.com/2017/07/la-ciudad-universitaria-de-caracas-maravilla-amenazada/ 32 – Palau, Aglais. Architect and director of COPRED. Interview on COPRED’s facilities in CUC – UCV. 03/03/2020.

33 – Sarmiento, Mabel. Web article. 07/25/2017. The University City of Caracas, a threatened wonder. https://iamvenezuela.com/2017/07/la-ciudad-universitariade-caracas-maravilla-amenazada/ 34 – Brito, Francisco. CUC’S General maintainance chief. Interview call on 25/04/2020.

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35 – Bortle Dark Sky scale. web page. retrieved from: https://www.handprint.com/ASTRO/bortle.html 36 – Light pollution values on CUC UCV Caracas. Retrieved from: https://www.lightpollutionmap.info/#zoom=11.839364149799358&lat=1174023&lon=7447587&layers=B0FFFFFTFFFFFFFFF. 37 – Narvaez, Marijul. Biologist and prof. from the UCV, currently specializing in master’s studies in urban ecology. Chat interview on 05/05/2020.

38 – Perry, G.; Buchanan, B. W.; Fisher, R. N.; Salmon, M.; Wise, S.E. (2008). “Effects of artificial night lighting on amphibians and reptiles in urban environments.”

Web Article.

39 – Longcore, Travis; Rich, Catherine (2004). "Ecological light pollution". PDF article. Frontiers in Ecology and the Environment.

40 – Alberta Dark Sky Association. Light pollution and human health. Web article. Retrieved from: https://www.albertadarksky.ca 41 – Lockley, Steven. Professor of Harvard Medical School, handbook "Blinded by the Light?". Chapter 4, "Human health implications of light pollution" (2009).

Retrieved from: https://en.wikipedia.org/wiki/Light_pollution 42 – Motta, Mario. “U.S. Physicians Join Light-Pollution Fight”. News. Sky & Telescope. 22/06/2009. Retrieved from: https://en.wikipedia.org/wiki/Light_pollution 43 – The International Dark Sky Association. Retrieved from: https://www.darksky.org/our-work/lighting/lighting-for-citizens/lighting-basics/ 44 – Statista web article. Ranking of the most dangerous cities in the world in 2020, by murder rate per 100,000 inhabitants. 28/04/2020. Retrieved from: https://www.statista.com/statistics/243797/ranking-of-the-most-dangerous-cities-in-the-world-by-murder-rate-per-capita/ 45 – Hernández, Yulian. Web article. Universidad Central se convirtió en la casa del hurto. 21/11/2017. Retrieved from: https://reportajesdesdelasaulas.wordpress.com/2017/11/21/falta-de-vigilancia-aumenta-inseguridad-en-la-universidad-central-de-venezuela/ 46 – UCV Security Directorate. Annual analysis of criminal acts in the university campus year 2019. http://direccionseguridad.blogspot.com/ 47 – Broken Windows theory. Retrieved from: https://en.wikipedia.org/wiki/Broken_windows_theory 48 – IDA. Lighting crime and safety. Retrieved from: https://www.darksky.org/light-pollution/lighting-crime-and-safety/ 49 – Fördergemeinschaft Gutes Licht - Good Lighting for Safety on Roads, Paths and Squares. PDF article. Retrieved from: www.licht.de 50 – Various Authors. The effect of reduced street lighting on road casualties and crime in England and Wales: controlled interrupted time series analysis. PDF article retrieved from: https://jech.bmj.com/content/69/11/1118 51 – Crime Lab New York, Urban Labs. Can Street Light Reduce Crime? Web Article. Retrieved from: https://urbanlabs.uchicago.edu/projects/crime-lights-study Bibliographic citations: CHAPTER 4 179

52 – Google Forms Editable Questionnaire. Retrieved from: https://forms.gle/BbiwfSpfM9aSUDS26. Started on April 1st, 2020 until June 30th, 2020.

53 – Word cloud generator. Generated and Retrieved from: https://www.jasondavies.com/wordcloud/ 54 – World Health Organization (2010). Urban Planning, Environment and Health: From Evidence to Policy Action. Retrieved from: https://www.euro.who.int/en/health-topics/environment-and-health/Housing-and-health/publications/2010/urban-planning,-environment-and-health-fromevidence-to-policy-action Bibliographic citations: CHAPTER 5 56 - COPRED’s General intervention guidelines. Consejo de Preservación y Desarrollo (COPRED). Ciudad Universitaria de Caracas – Patrimonio Mundial. Universidad Central de Venezuela. November 30th, 2004.

57 – National COVENIN Standard 3290:1997 58 - Prof. Carlos Rodríguez ¿POR QUÉ A LA UCV SE LE LLAMA “LA CASA QUE VENCE LA SOMBRA”? Profesor de la Escuela de Farmacia UCV. 10/10/2012 http://www.ucv.ve/organizacion/facultades/facultad-de-farmacia/detalle-noticias-farmacia/browse/6/article/por-que-a-la-ucv-se-le-llama-la-casa-que-vence-lasombra.html

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FIGURES SOURCE LIST Figure 1. https://www.picuki.com/media/2212906593549114797 Figure 2. https://es.wikipedia.org/wiki/Universidad_Central_de_Venezuela#/media/Archivo:University_of_Caracas_1911.jpg Figure 3. http://cedinbialmomento.blogspot.com/2012/09/galleria.html Figure 4. http://induced.info/?s=University+of+Kentucky++Official+Campus+Map Figure 5. http://gestiondocumental.unal.edu.co/relatos-desde-el-aire/ Figure 6. https://twitter.com/empleate/status/1134099988156473345/photo/1 Figure 7. a) https://co.pinterest.com/HistoriadeVzla/venezuela-de-anta%C3%B1o/, b) https://twitter.com/ArquitecturaVzl/status/1266161079916195840, c) https://twitter.com/CEA_FAU/status/468601370963357697 Figure 8. a) https://artsandculture.google.com/entity/caracas/m0fcyj?categoryId=place, b) https://artsandculture.google.com/entity/caracas/m0fcyj?categoryId=place Figure 9. a) https://co.pinterest.com/villarroelhecto/ucv/, b) http://guiaccs.com/obras/parque-y-palmetum/ Figure 10. https://bigsta.net/tag/peripateticoenccs/ Figure 11. https://artsandculture.google.com/entity/caracas/m0fcyj?categoryId=place Figure 12. a) & b) https://goo.gl/maps/7cahk8Dt6YbQwUyM6 , c) https://www.pestana.com/es/hoteles/caracas, d) https://fineartamerica.com/featured/nationalpark-of-el-avila-caracas-venezuela-alejandro-ascanio.html Figure 13. a), b), c) & d) https://iamvenezuela.com/2017/07/la-ciudad-universitaria-de-caracas-maravilla-amenazada/ Figures 14-21. Photos taken on site by the author, 05/03/20.

Figure 22. a) https://worldheritagesite.xyz/caracas/, b) https://worldheritagesite.xyz/caracas/, c) https://mapio.net/pic/p-14789200/, d) https://www.lapatilla.com/2015/05/06/asesinan-a-un-joven-dentro-de-la-universidad-central-de-venezuela-6m/, e) https://www.deviantart.com/pedrorondon/art/UCV-de-noche-2-179678222, f) https://twitter.com/VoyAlCentro/status/768597172514357249, g) http://paisajesdecaracas.blogspot.com/2014/04/ciudad-universitaria-de-caracas-ucv-4ta.html, h) http://asivemoscaracas.blogspot.com/2010/06/noche-en-laucv.html & i) https://www.todosahora.com/tag/fcu-ucv-2/ Figure 23. a) http://www.materialcultural.com/ciudad-universitaria-de-caracas-carlos-raul-villanueva-fotografias-luis-felipe-toro/, b) http://orachapellincaracasvenezuela.blogspot.com/2011/09/

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Figure 24. a) https://www.facebook.com/pg/Carlos-Raul-Villanueva-55369887220/photos/ , b) https://artsandculture.google.com/entity/caracas/m0fcyj?categoryId=place Figure 25. https://twitter.com/Vzla_Inmortal/status/763527242173583360/photo/1 Figure 26. a) https://twitter.com/juanborrelli/status/1266550384396570632/photo/1 , b) https://www.el-carabobeno.com/estudiantes-la-ucv-representarandominica-la-oea/ Figure 27. a) http://mariafsigillo.blogspot.com/2011/03/el-reloj-de-la-ucv.html , b) https://lanzateyviaja.com/lugares-viajar-venezuela Figure 28. a) https://artsandculture.google.com/entity/caracas/m0fcyj?categoryId=place ,b) https://esla.facebook.com/218896081483804/photos/pb.218896081483804.-2207520000../758347284205345/?type=3&theater c) https://artsandculture.google.com/entity/caracas/m0fcyj?categoryId=place Figure 29. a) http://www.materialcultural.com/ciudad-universitaria-de-caracas-carlos-raul-villanueva-fotografias-luis-felipe-toro/ , b) https://www.facebook.com/55369887220/photos/ciudad-universitaria-de-caracas-obra-de-carlos-raul-villanueva-y-el-general-marc/10151323412762221/ , c) https://noticiaglobal.wordpress.com/2018/06/19/la-autonomia-universitaria-es-irrenunciable/ Figure 30. a), b) & c) https://artsandculture.google.com/entity/caracas/m0fcyj?categoryId=place Figure 31. a) https://twitter.com/MFernandaJaua/status/1219569200865447936/photo/1 b) https://artsandculture.google.com/entity/caracas/m0fcyj?categoryId=place Figure 32. a) & b) https://artsandculture.google.com/entity/caracas/m0fcyj?categoryId=place Figure 33. a) COPREDs UCV archives digital version, b) & c) https://artsandculture.google.com/entity/caracas/m0fcyj?categoryId=place Figure 34. https://artsandculture.google.com/entity/caracas/m0fcyj?categoryId=place Figure 35. a) https://www.facebook.com/photo.php?fbid=1087224097957603&set=a.1041965035816843&type=3&theater b), c) & d) https://www.lightpollutionmap.info/#zoom=8&lat=1175185&lon=-7503317&layers=B0FFFFFTFFFFFFFFF Figure 36. a) https://es.123rf.com/profile_mendesbio , b) http://www.avesdeuruguay.com/chimachima.htm , c) http://animalia-life.club/birds/collared-trogon.html , d) https://gramho.com/explore-hashtag/enlanaturaleza e) https://javorja.wordpress.com/tag/skenderbeu/ f) https://guardabosqueusb.files.wordpress.com/2013/04/05422-rabipelado15065b15d.jpg Figure 37. a) https://sites.google.com/site/mochebiologysite/online-textbook/light , b) Fรถrdergemeinschaft Gutes Licht - Good Lighting for Safety on Roads, Paths and Squares. PDF article. Retrieved from: www.licht.de c) https://Parans.com. Source 2.

Figure 38. https://visibledark.ca/statement-on-led-conversion-region-of-waterloo-council-nov-1-2016/ Figure 39. https://reportajesdesdelasaulas.wordpress.com/2017/11/21/falta-de-vigilancia-aumenta-inseguridad-en-la-universidad-central-de-venezuela/ 182

Figure 40. https://www.facebook.com/photo.php?fbid=1087224097957603&set=a.1041965035816843&type=3&theater Figure 41. Fรถrdergemeinschaft Gutes Licht - Good Lighting for Safety on Roads, Paths and Squares. PDF article. Retrieved from: www.licht.de Figure 42. Fรถrdergemeinschaft Gutes Licht - Good Lighting for Safety on Roads, Paths and Squares. PDF article. Retrieved from: www.licht.de Figure 43. https://www.facebook.com/photo.php?fbid=1087224097957603&set=a.1041965035816843&type=3&theater Figure 44. https://www.jasondavies.com/wordcloud/

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DECLARATION OF ORIGINALITY AND COMPLIANCE

I hereby declare that the work contained in this dissertation is entirely my own, original work, and was not previously submitted, in whole or in part, for the application of any other degree.

I declare that any sources consulted, or any external contributions have been fully referenced and credited. Furthermore, this declaration acknowledges my full understanding of the ethical requirements of my department, and I affirm that I have upheld these requirements in the course of my work.

The submitted data version matches the written version stored on the data medium.

Name: Luis Alfredo Villasana Gรณmez Student Number: 301567 Department: Architectural Lighting Design Place and Date: Turmero, Venezuela - July 16th, 2020

Signature:

184

APPENDIX

1. PRELIMINARY PLAN OF CUC. C.R. Villanueva. Depicting the different zones and areas of the University City of Caracas. CUC UCV COPRED archives. No date.

2. GARDEN AND STREETS ILLUMINATION. C.R. Villanueva. 13.01.1953. CUC UCV COPRED archives.

3. STREET LIGHTING POLES. C.R. Villanueva. June, 1952. CUC UCV COPRED archives.

4. BUDGET FOR STREET LIGHTING POLES & CATALOGUES. 25.10.1951. Pictures taken by the author from CUC UCV COPRED archives.

5. PRELIMINARY ENSEMBLEâ&#x20AC;&#x2122;S ILLUMINATION PLAN FOR CUC. 25.11.1952. Pictures taken by the author from CUC UCV COPRED archives.

6. ENTRANCE ELECTRICAL INSTALLATION. C.R. Villanueva. 20.10.1953. CUC UCV COPRED archives.

7. (CORRIDOR NUMBER 1) SOUTH OF THE TROPICAL INSTITUTE OF MEDICINE. C. R. Villanueva.29.05.53. CUC UCV COPRED archives.

(CORRIDOR NUMBER 2) UNION OF TROPICAL AND ANATOMICAL INSTITUTES. C. R. Villanueva.27.07.53. CUC UCV COPRED archives.

(CORRIDOR NUMBER 5 6 7 8 9) LOCATION AND SECTIONS PLANS. C. R. Villanueva.09.02.54. CUC UCV COPRED archives.

(CORRIDOR NUMBER 5 7 8) MODIFICATIONS. C. R. Villanueva.12.05.54. CUC UCV COPRED archives.

(CORRIDOR NUMBER 7 8 9) ELECTRICAL INSTALLATIONS. C. R. Villanueva. 10.05.54. CUC UCV COPRED archives.

8. LIGHTING REPORT ABOUT THE DIRECTIVE-CULTURAL AREA. 05.08.1952. CUC UCV COPRED archives.

Caracas, August 5th, 1952

TRANSCRIPT OF THE DOCUMENT INTO ENGLISH: The Covered Plaza â&#x20AC;&#x201C; Illumination Project

This covered area has approximately 1950 square meters (not including patios).

In the 1: 1000 plane, we counted 24 areas of 9 x 9 meters with a total of about 40 columns.

If in relation to the different spaces and lighting levels the visitor to the Magna classroom has to go through a certain climax, the lighting level should be low. We calculate 15 lux. Thus, the visitor successively finds 15 Lux in the covered plaza, +/- 60 under the canopy, 30 in the gallery, 75 under the balcony and then looks at the stage that has 250 lux.

To obtain the 15 Lux, 3 100-watt incandescent lights in indirect light lamps must be placed in the 40 columns. To obtain the effect the Architect wants, these lamps should be as small and inconspicuous as possible, at a distance of +/- 1 m from the ceiling and fastened with wall supports at a distance of 50 to 60 cm from the columns (see sketch A).

At several sites curved walls will be built with murals or mosaics. For these, we calculated on both sides 150-watt silver reflectors in small ceiling lamps. These lamps must be installed 1.20 m from the wall. And a meter from center to center.

In the open courtyards and around the covered plaza, the Architect desires colorful Tropical vegetation, illuminated with strong light to be points of attraction with the dim lighting of the plaza.

We therefore recommend the use of special enameled and green reflectors in tubes that can be embedded in the ground and connected by rubber cables to waterproof plugs.

Each reflector of this type of fungus, or small reflectors placed in the ground, carries a 150-watt frosted bulb and covers an area of 7 m2 of vegetation, or a circle 3 meters in diameter.

The area of these bushes in the drawing is approximately 450 m2.

If we take the area to be covered by these lights as 250 m2, +/- 40 of these lamps will be needed (see sketch B and C).

For flexible installation, we recommend leaving 5 or 6 waterproof light spots on the edge of the roof around each patio. So, 500-watt reflectors with color filters can occasionally be placed on the ceiling to light up an official or flower display. Ten of these light spots will suffice (see sketch D).

The same units will be used on the rooftop in the area that has a concrete Pergola. We estimate that 10 of these units will suffice here.

The large sculpture to the left of the classroom will be illuminated by 3 waterproof reflectors of 500 watts each, located on the roof of the canopy.

L. Kalff Illumination Technician

9. COVERED PLAZA ILLUMINATION PLAN. C.R. Villanueva. 06.08.1952. CUC UCV COPRED archives.

10. SCREENSHOT OF LIGHT POLLUTION MAP IN THE AREA OF THE CUC & BORTLE SCALE. from https://www.lightpollutionmap.info/#zoom=11.340293249352131&lat=1174572&lon=-7446139&layers=B0FFFFFTFFFFFFFFF. April 26th, 2020.

12. UCV SECURITY DEPARTMENT CRIMINAL ACTS PERIOD 2019-2020. From http://direccionseguridad.blogspot.com/

Table 11. Number of crimes committed on the period from January â&#x20AC;&#x201C; December 2019.

Table 8.

Table 12.

Table 13.

Table 14.

Table 15.