Bringing life to Langeliniekajen | lighting design project | 2021

Emmanuel Alvarez Laura de Frutos Rodrigo Lagüera Oana Predescu Supervisor: Kasper Fromberg Støttrup

Bringing life to Langeliniekajen

Semester Project LiD8 • Creating with light • MsC Lighting Design • Aalborg University

1. INTRODUCTION .....................................................................................................................................5

TABLE OF CONTENTS

2. DESIGN VISION .................................................................................................................................... 9 2.1. Overall question........................................................................................................................10 2.2. Choosing a public space....................................................................................................10 2.2.1. Candidates......................................................................................................................11

2.2.2. SWOT Analysis............................................................................................................12 2.2.3. Selected space: Langeliniekajen .................................................................12 2.3 Initial Research............................................................................................................................ 15 2.3.1 Public Space ................................................................................................................ 15

Definition....................................................................................................................... 15

Lively Space...............................................................................................................16 Human Scale and Communication..........................................................16 2.3.2. Sustainable Development Goals................................................................. 17 2.3.3 Belysningsmasterplan for København..................................................... 19

2.4. Project Vision...............................................................................................................................21

3. DESIGN INTENTIONS.......................................................................................................................25

3.1. Analysis ..................................................................................................................................26

3.1.1. The setting.....................................................................................................................26

Location and history............................................................................................26 Urban context: Kevin Lynch analysis.......................................................28 Close context: Gordon Cullen analysis................................................. 30

3.1.2. The play...........................................................................................................................32

Flows...............................................................................................................................32

Elements and landmarks.................................................................................32

User Groups...............................................................................................................33

Survey.............................................................................................................................34 I nterviews......................................................................................................................36

3.1.3 The light ..........................................................................................................................37

Daylight.........................................................................................................................37

Electrical light...........................................................................................................38

Masterplan’s requirements............................................................................. 41 3.1.4 Problems and conclusions.................................................................................42

The Setting:................................................................................................................43

The Play:.......................................................................................................................43

The light: ......................................................................................................................43 3.2. Criteria ..................................................................................................................................44 3.2.1. Interactive lighting for communication....................................................44 3.2.2. Integrated lighting for revealing the architecture...........................44 3.2.3. Responsible outdoor lighting for preserving dark sky................44 3.3. Research Question.................................................................................................................44

5. DESIGN EVALUATION......................................................................................................................77 5.1. Tests ..................................................................................................................................78 5.1.1. Evaluation: color vs. tunable white..............................................................78 Option 1. Colour variation blue – amber...............................................78 Option 2. Correlated Colour Temperature Variation....................79

5.1.2. Virtual test: fence specification and layout...........................................79

Option A........................................................................................................................ 80

Option B........................................................................................................................ 81

Option C........................................................................................................................ 81

Option D........................................................................................................................82

Option E.........................................................................................................................83 5.1.3. Virtual test: light levels and distribution..................................................83 5.1.4. Lab test: Colour Discrimination..................................................................... 86 Preparation for the test..................................................................................... 86

Method .........................................................................................................................87

Results........................................................................................................................... 89

Conclusion and Discussion .......................................................................... 90

Future Works.............................................................................................................92 Translation to the project.................................................................................92 5.2. Final proposal specifications...........................................................................................92

6. DISCUSSION AND CONCLUSION..........................................................................................97 6.1. Discussion ................................................................................................................................. 98 6.2. Conclusion ................................................................................................................................. 99

6.2.1.Futur e Works................................................................................................................ 99 6.3. Project overview.................................................................................................................... 104

REFERENCES.............................................................................................................................................106

BRINGING LIFE TO LANGELINIEKAJEN

4. DESIGN PROPOSAL...........................................................................................................................47 4.1. Methods ..................................................................................................................................48 4.2. Criteria Research......................................................................................................................48 4.2.1. Integrated lighting...................................................................................................48 4.2.2. Responsible outdoor lighting......................................................................... 51 4.2.3. Interactive lighting..................................................................................................53 4.3. Design Concept........................................................................................................................54 4.3.1. Trip to Langeliniekajen.........................................................................................54 4.3.2. Design guidelines....................................................................................................72 4.3.3. Interactive fence.......................................................................................................72

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INTRODUCTION

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01 INTRODUCTION

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During the past months, outdoor public spaces have become fundamental for society. The current COVID-19 pandemic disrupted the normal functioning of communities, forcing people to isolate themselves at their homes, and the lockdowns imposed across the globe meant a shortage of gathering places. “We have seen several studies that confirm that citizens have moved during the pandemic to parks, gardens and natural areas. They have also become accustomed to walking more, cycling and getting away from crowded streets.

Cities have always been the scene of disasters, be they earthquakes, fires, wars or epidemics, but after a few years everything returns to normal because homo sapiens, who has a long history, wants to live in the city because it is a social animal". With these words, Jan Gehl described the ongoing situation during a conference given on May 13, 2021, in Valencia, Spain, in the context of the Urbanism Festival La Valentina (Gehl, 2021).

As described by Abraham Maslow in his 1943 paper "A Theory of Human Motivation" (Maslow, 1943), we human beings need social interaction to fulfil our basic needs, “If both the physiological and the safety needs are fairly well gratified, then there will emerge the love and affection and belongingness needs”. Communication is the main aspect applied to accomplish the love needs, and public spaces are the context where this social interaction is carried out.

However, not any public space reunites the requirements to enable people to achieve person-to-person communication. One essential factor to enable social activities is the presence of other human beings to create communication.

For this reason, the vital importance of creating lively places, places that are perceived as welcoming and promise social life. This project addresses the question of the role of lighting in creating such spaces. More specifically the report will try to answer the following question: “How can an interactive lighting design in a public square support functional needs, visual identity and coherence, and sustainability?”

In order to answer this question, the procedural model, introduced by E.K. Hansen and M. Mullins (Hansen & Mullins, 2014), has been applied. This method merges research traditions in a trans-disciplinary practice to integrate the knowledge of different disciplines to create innovative solutions, generating new knowledge at the same time. This model consists of five steps that were used in this project to arrive to an answer to our research question.

During the first section, the process carried out to choose the space used for this project, Langeliniekajen, will be introduced. Following, the relevant literature and background research will be presented. In the second section, the Langeliniekaj will be analysed thoroughly. To analyse this space, quantitative and qualitative methods were applied, using the structure proposed by Mette Hvaas and Ellen Kathrine Hansen in their conference “Using scenography as a framework to design lighting scenarios in the urban nightscape” (Hansen & Hvaas, 2020). As a result, a list of problems referring to the site, the activities there performed, and the lighting situation was obtained. After that, the three criteria that generated the research question will be presented. In the third chapter of this report, the research linked to the design proposal will be introduced, continued by the design proposal itself. The design will be explained following the method that Ulrike Brandi used in his book Light for Cities, where the reader follows a fictional lighting designer who goes through different urban spaces. (Brandi & Geissmar-Brandi, 2006). After this description, the hypothesis about how the design can fulfil the criteria will be formulated. Over the fourth chapter, tests performed to prove those hypotheses will be explained, the method, procedure and results will be presented. In the last chapters, the conclusion and the discussion of our results will be exposed, alongside a list of future work that holds potential for further development of the research.

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DESIGN VISION

2.1. Overall question The design experiment project reflected in this report aims to answer the following overall question given in the assignment: “How can interactive lighting design in a public square support functional needs, visual identity and coherence, and sustainability?”

As stated in the previous question, the first step taken was to choose a public space in the city of Copenhagen to develop the project.

2.2. Choosing a public space

To select a public space for the project development, an extensive search was made through the city of Copenhagen, visiting different squares, parks and places considered as public spaces. Sites were visited both during daytime and after dark hours, to be able to understand the characteristics and atmospheres created with different lighting situations.

Various aspects had to be considered in this first approach to the city exploration for an ideal space. Among those aspects, the architecture, the surrounding areas, social aspects and the current lighting situation were observed. Since the search was done in early February of 2021, during the lockdown established due to the COVID-19 pandemic, the closure of indoor public spaces, added to the low temperatures and few daylight hours dur-

Figure 2.1 1.Bryggernes Plads, 2.Hauser Plads, 3. Havneparken Syd Islands Brygge, 4.Langeliniekajen, 5.Israel Plads, 6. J. C. Jacobsen Garden, 7. Karen Blixen Plads, 8. Konditaget Lüders, 9.Sankt Annæ Plads

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ing February, caused parks and squares to be nearly empty. For that reason, it was difficult to consider the social aspects.

2.2.1. Candidates

Several places were visited and observed taking different approaches to identify the most appropriate option for the project. Some places had to be discarded since there were not accessible during the lockdown or dark hours, in other cases, it was considered the current lighting situation was appropriate, thus any change was needed. The following figure (Fig 2.1) displays some of the visited sites.

After this first round of possibilities, the list was reduced to four final candidates, considering these places to be the most appropriated for this academic project. The final list was constituted by the following places: Israel Plads: located between Nørreport Station and The Lakes, Israel Plads is a large square in central Copenhagen. It is surrounded by Ørstedsparken and Torvehallerne, two market halls built in 2011. A double basketball court takes the centre of the square, and a pyramidal structure placed in the northwest end of the site is used as seats and play area for kids. Every time the place was visited, it was possible to observe a good amount of people performing different activities (Fig 2.2).

Figure 2.2 Israel Plads at night

Langelinikaj: part of the Københavns Frihavn, Langeliniekaj presents a unique architecture compared with the rest of the visited places. The disconnection with the rest of the city and the lack of activities makes the place unattractive for most people, being this nearly empty during each visit, even when a place crowded by tourist as The Little Mermaid sculpture is located a couple of minutes away by foot. The importance of the city heritage added to the charming and historical vibe of the place made the Langeliniekaj an interesting but challenging candidate for the project (Fig 2.3).

Figure 2.3 Langeliniekajen at night

Havneparken Syd at Islands Brygge: surrounded by attractive places and located by Copenhagen’s main canal, Havneparken Syd at Islands Brygge is a popular area, particularly during summer days. Many different activities are performed there by people, from swimming to playing beach-volley. At the same time, there is a historical value on the place, with old railroads elements placed there. This area is a compound of different areas with different architectural characteristics, for which the disconnec-

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Figure 2.4 Havneparken Syd at Islands Brygge at night

tion between elements is evident (Fig 2.4).

Sankt Annæ Plads: with a walking distance from Amalienborg Palace, and with views to Ofelia Plads and Copenhagen Opera House, this lineal-shaped park attracts mostly neighbours from the area and some by-passers. The architectural elements are scarce, but the beautiful façades from the surrounding budlings make Sankt Annæ Plads a very inspiring site for the project (Fig 2.5).

Figure 2.5 Sankt Annæ Plads at night

2.2.2. SWOT Analysis To support the decision on the location for a project, a SWOT analysis was carried out on the four selected places. SWOT stands for Strengths, Weaknesses, Opportunities, and Threats, and it is a strategic planning technique used in the preliminary stages of project development . It reinforces decision-making processes, and it is widely used on companies to specify project objectives and to assess internal and external factors that are advantageous and disadvantageous to achieve those objectives. Since an architectural project approach was needed, some adaptation to the model were made, giving our own interpretation for the matrix used in the analysis. Strengths and Weaknesses were used for the current state of the place, being these external factors, while Opportunities and Threats, internal factors, were interpreted as the aspects the project could be influenced by the external factors. Each group member produced their analysis, and then they were shared to compare the different points of view. A summary of those SWOT analysis is presented in figures 2.6, 2.7, 2.8, 2.9.

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2.2.3. Selected space: Langeliniekajen

After a thorough debate and observation on the current situation in the four selected places, the decision was to use the Langeliniekaj for the project. It was possible to find valid opportunities in every space, but we believed that Langeliniekajen had the best potential for our project development.

As mentioned, there were opportunities in every space but were the threats the ones that directed the final decision. In the case of Sankt Annæ Plads, the characteristics of the surroundings and the proximity with residential buildings represented a menace for the project since the interaction with the street lighting and our possible design. Regarding Havneparken Syd at Islands Brygge, the presence of many different elements with par12

Figure 2.6

SWOT Langeliniekajen

Figure 2.7

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SWOT Israel Plads

Figure 2.8

SWOT Havneparken Syd at Islands Brygge:

Figure 2.9

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SWOT Sankt Annæ Plads

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2.3 Initial Research 2.3.1 Public Space Definition

“There has been much debate about definitions of public space – whether it is public or private, inside or outside, restrictive or free, democratic and inclusive, or otherwise. The everyday use of public space has been changing – from necessary uses to optional, recreational uses. This changing role increases the need for appropriate, well-designed places in which people choose to spend time, and that provides a place for people to relax, socialize and be part of urban life.” (Gehl & Matan, 2009).

A public space can be defined as any built environment as streets, alleys, buildings and squares where social activities are performed (Gehl & Birgitte, 2013). Life in public spaces can present a wide range of activities.

Gehl, across his bibliography, identifies three different types of activities, being those necessary activities, optional activities and social activities.

Necessary activities are described as those more or less compulsory, as going to work, running errands, waiting for public transportation, etc. Most of everyday activities belong to this group, and the great majority include walking. Since these activities are unavoidable, they will take place under all conditions, during the whole year and independently of the environment. Optional activities are performed if there is a willingness to do them, and they depend on if the time and place are available. In this category, some examples are taking a walk or standing outdoors to enjoy the weather. Activities in this group are highly sensitive to the quality of the public spaces. Social activities are described as the social encounters that take place outdoors. These include any type of communication among people in public spaces (Gehl, 2001). As described previously, social activities are 15

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ticular typologies creates a disconnection among the areas of the park, being this area at the same time part of an even larger area difficult to delimit.

For Israel Plads, even when it was the strongest candidate in the first discussions about the chosen place, it was dropped out since the current lighting design was accurate and newly implemented, and there was a chance our proposal could end up in a mere aesthetic redesign instead of a proper problem-solving project.

The selection of the space was not a discarding process in which Langeliniekajen was the only candidate left. There were truly reasons for its election. Even the place was not the most lively during the visits, there were observed diverse groups of people performing diverse activities that could allow the project to take different approaches and concepts: create an area for runners, highlight the history of the area, or improve the connection between the different elements, among others. Furthermore, Langeliniekajen represents the first contact with the city for some tourist that arrive to Copenhagen on a cruise ship. This represents another opportunity to create a new landmark that can be recognised as part of Copenhagen’s attractions. In addition, the possibility to work with different scales and improve the safety contributing to the development of the area, and the particular shape and location of the place, made us decide on Langeliniekaj as the protagonist of our semester project.

necessary for different built environments to be qualified as a public space.

If a public space is plenty of social activities and communication among people, we can consider this a lively space.

Lively Space

“Something happens because something happens because...”

Jan Gehl, Cities for People, 2010.

A public space that is perceived as welcoming and promises social interaction can be considered a lively space (Gehl, 2010). A good metaphor to explain this concept could be the comparison between a full-house theatre with one almost empty. While a crowded theatre shows anticipation and the promise of a pleasant experience, a nearly empty one can be a sign that something is missing. A lively space is a starting point for holistic city planning, aiming for a safe, sustainable and healthy city. A lively space should enable people to have direct contact with the society they are immersed. In a lively space, many different groups can be interacting and use the same place at the same time.

All kinds of communication are considered social activities, and they need the presence of other people. If many social exchanges and activities are happening in a space, it is possible to consider that as a lively space.

On the other hand, nothing happens when a space is empty and desolate.

A space with good qualities is a requisite for activities to bloom. In this process, one activity plus another activity can easily become more than three. In Jan Gehl words, “Something happens because something happens because...”. In the opposite direction, a space that is not able to support the mentioned social activities, with people scattered around large areas, with any interaction or communication between them cannot be considered a lively space. Therefore, the contrary process would take place: “Nothing happens because nothing happens because...”.

Two different approaches can be considered when the aim is to increase the life of a space. The liveliness of a place is not only a matter of numbers regarding the number of people in a space, equally important is the amount of time people spend at the place. This concept is linked to the human scale, users will experience the space as lively or not according to the activities within the visual field of 100 meters. A space with a large number of users passing through it quickly will not be perceived as a lively space. The activity level of a place is a compound of number and time. For this reason, to increase the life of a place, a quantitative or qualitative approach can be taken. A quantitative approach refers to attract a larger number of users to a space, while a qualitative approach intended to make people stay longer in the area and slowing the traffic down.

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Human Scale and Communication

Cities and public spaces are designed for people. Is for this reason that human mobility needs to be the starting point on public spaces design, to provide the right context for communication. Humans move in a linear orientation since we evolved to move on foot and slowly. “Paths, streets and boulevards are all spaces for a linear movement designed on the basis of the human locomotor system.” (Gehl, 2010).

Human senses play a fundamental role in communication. Their evolution is tied to human evolution and can be classified in “distance” and “close” senses (Hall, 1966). Distance senses refer to seeing, hearing and 16

2.3.2. Sustainable Development Goals

The project linked the communication and human spaces together and tried to create a lively space, while also enhancing the Agenda for Sustainable Development of 2030 – Transforming our World (United Nations, 2015).

It brought an increased focus on the importance of the targets and Sustainable Development Goals. Addressing the Goals referring to social, technology efficiency and ecosystem issues is necessary especially regarding the most relevant goals to the project: Goal 3, Goal 7, Goal 11, Goal 14, Goal 15. (Fig 2.10) Goal 3. Ensure healthy lives and promote well-being for all at all ages.

To ensure good lighting for traffic and pedestrians, target number 3.6 "By 2020, halve the number of global deaths and injuries from road traffic accidents" is addressed. The aim is to have a good, useful and more visible approach to the vehicle users, especially since the flow of vehicles is present along the pier. It addresses the idea of bringing people together with the help of a design solution that can combat loneliness and alienness.

Goal 7. Ensure access to affordable, reliable, sustainable and modern energy for all.

Target number 7.3 "By 2030, double the global rate of improvement in 17

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smelling, and close senses are feeling and taste. In the matter of communication among people, senses are used at different distances. Sight is the first sense coming into play, identifying humans among animals or vegetation at a distance from 300 to 500 meters. When the distance is reduced to 100 meters, it is possible to see movement and interpret body language. In a distance between 50 to 70 meters, it is possible to identify gender and age, and when distance lessens to 22 – 25 meters, humans are able to read accurately emotions and facial expression. In city planning, where senses, communication and dimensions are an important factor, it is relevant to mention the social field of vision. The edge for the social field of view is 100 meters, a distance in which it is possible to see people movement. Another important figure is 25 meters, where humans can decode facial expressions and emotions. These two distances, 100 and 25 meters are key in spaces in which the main objective is to observe people. Arenas for sports and concerts use the 100 meters distance, spectators usually are sitting no more than 100 meters away from the action. In other types of venues in which emotion and facial expression take a fundamental role, as theatres and opera houses, the 25 meters distance is used to ensure communication between performers and spectator.

Most squares and plazas in old European cities reflect the 100-meter distance. This distance enables users to have an overview of the space while they stand in one corner. When they approach into the space, they can recognise who is there in a distance shorter than 50 meters. In a typical plaza with square or rectangular shapes, measuring between 100 and 70 meters on their sides, humans can potentially see the majority of activities taking place there, while at the same time it is possible to perceive the detail of the nearest activities.

While paths and streets are meant as movement and transitional spaces, directly related to human linear movement, squares and plazas are intended to be functional spaces for activities. A street urges to move, whereas a square incites to stay. Summarising, human measurements, movements and senses left their imprint on urban planning history, being the fundamental building blocks streets for movement and squares for activities.

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Figure 2.10 Chosen UN Sustainable Development Goals and targets

energy efficiency": the design proposal should consider this by minimising the use of energy and increasing the efficiency of street lighting.

Goal 11. Make cities and human settlements inclusive, safe, resilient and sustainable.

Target number 11.4 "Strengthen efforts to protect and safeguard the world’s cultural and natural heritage", along with targets 11.6 and 11.7, refer to light pollution and its disrupting effect on human health and the world´s ecosystem, to protect the universal heritage represented by the natural night sky. Additionally, cultural heritage is one of the values of Langeliniekajen, therefore it should be promoted and protected. These targets aim to develop the space into a recreational, popular space without the negative impact of cities and without generating any more waste that couldn't be handled by current waste management operations.

Considering Target 11.7, which is specifically focused on making green and public spaces safe, inclusive and accessible for everyone and especially for women, children, older persons and persons with disabilities. It relates to how proper lighting can reduce crime and increase reassurance. As will be explained later, appropriate lighting can contribute to creating inviting places, with a special impact on the perception of personal security for the elderly and women. The space should be transformed into a more inviting location where everyone is welcome to relax and feel secure at any time of day.

Goal 14. Conserve and sustainably use the oceans, seas and marine resources for sustainable development.

Target 14.1 - “By 2025, prevent and significantly reduce marine pollution of all kinds, in particular from land-based activities, including marine debris and nutrient pollution” is addressed by the fact that the lighting along the pier will not be redone and therefore it will not disrupt the natural habitat of the fish nor create any marine pollution.

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Secondary goals.

The secondary goals slightly touch upon Goal 15 - "Life on Land" with target number 15.5 "Take urgent and significant action to reduce the degradation of natural habitats, halt the loss of biodiversity and, by 2020, protect and prevent the extinction of threatened species".

Taking this into account, the proposal avoids disrupting the insects, birds or any other form of wildlife from their habitat. The changes in the place should have minimal impact on wildlife both during implementation as well as afterwards, with no significant alteration to the habitat or ecosystem of any living being in the space.

Since the place used to be visited a lot by tourists from cruise ships in the past, there will not be any big changes in the impact of human presence on other life ecosystems in the area, with the aim at creating a more pleasant atmosphere for humans without massive construction, pavement or other disruptive activities. The number of people visiting will increase compared to current levels but will not exceed the number of people present at its peak when cruise ships full of tourists docked every day.

2.3.3 Belysningsmasterplan for København

The Copenhagen Lighting Masterplan (Københavns Kommune & UiWE, 2014) provides a basis for future lighting projects in the capital of Denmark. Its purpose is “to describe a holistic and strategic approach for the development of Copenhagen's street and urban lighting. The ambition is to ensure comprehensive energy savings and create a coherent, locally based and unique lighting image for Copenhagen.”

This Masterplan plays a crucial role in the development of this project due to three reasons. Firstly, it reflects on the three topics of the initial overall question: functional needs, identity and coherence and sustainability.

Secondly, its guidelines should be considered in the process of analysis and design. These requirements can be quantitative, like the Correlated Colour Temperature (CCT), or qualitative, like the wishes of local committees. Finally, some useful examples can be found and used as inspiration for the future proposal.

The Masterplan is structured around six focus areas: safe city, secure city, sustainable city, active city, living city and mediating city (Fig 2.11).

These topics can remind Jan Gehl’s theories about public space. This is because “the focus areas are formulated so they are connected with the City of Copenhagen's other strategies” (Københavns Kommune & UiWE, 2014), and Gehl’s theories have had a big influence on Copenhagen’s development. Lighting is just another ingredient and, therefore, the ideas that the

Figure 2.11 Copenhagen Lighting Masterplan six focus areas

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city wants to communicate should be the same regardless of solar time. As Susheela Sankaram says, “In order to understand lighting in cities you need to understand the city in general.” (Arup, 2015).

Fig 2.11 Copenhagen Lighting Masterplan six focus areas.

Besides, these focus areas can also be interpreted as functional needs and benefits that lighting can support in public spaces. The six focus areas are summarized below: Safe City. It focuses on reducing the risk of traffic accidents and increasing road safety, with three specific recommendations: clearer lighting hierarchy, highlighting the visibility of soft traffic edges and reduction of visual noise. In The benefits of light at night, Peter R. Boyce states “The most fundamental reason for using light at night is to enable people walking outdoors after dark to see obstacles on their path ahead and thereby avoid colliding with them or tripping over them. The obstacles can be either large or small”. Drivers must also be considered “by increasing the visibility of the road ahead” and “in stabilizing perception and reducing discomfort when driving at night” (Boyce, 2019).

Secure City. The Masterplan proposes some strategies to experience the city as a secure place to move and stay in, to improve the visibility and orientation, and to promote the affiliation between residents and their neighbourhoods through qualitative lighting. The recommendations are to create “overview conditions and monitoring”, because “where there is light, there are eyes that see, and thus security”; to establish “clear demarcations between private and public spaces” considering “light initiatives as a way to strengthen social cohesion”; to design “inviting urban spaces” that attract more people, in particular concentrations of pedestrians and cyclist; to improve facial recognition and lines of sight that play along with the architecture, providing orientation and a quick overview of the space.

Although some public spaces are not considered insecure according to police statistics, lighting should always be considered since “while the benefits of using light at night to reduce crime are uncertain, it is much more routinely found that lighting the streets reduces fear of crime, particularly for women and the elderly” (Boyce, 2019). Therefore, the effects of urban lighting on the feeling of reassurance can be even more important than on the real incidence of crime.

Sustainable City. Although the Masterplan does not contain specific regulations to reduce light pollution, there is an ambition to minimize the city’s light pollution for the benefit of both, people and animals: “In addition to consequences such as energy waste and glare, light pollution also has the disadvantage that it impairs the view of the night sky. Recreational use of nature also includes the experience of the night, including the ability to observe celestial phenomena such as shooting stars or northern lights.” As well as preserving the dark sky, it includes some recommendations to reduce the nuisance of lighting on wildlife, such as avoiding light barriers so as not to fragment habitats or considering colour temperatures and location of the luminaires, with a special focus on flying insects.

In the same way, Roger Narboni states that “the control of light pollution, the protection of the environment and the necessary reduction of energy consumption have become now the major stakes of any lighting strategy”.

He says that the study of black infrastructures should complement the different Lighting Masterplans to protect the night biodiversity and allow a better relationship between urban uses and the natural environment (Narboni, 2016).

Active City. This focus area points out the motivation for a more physically active life for the Copenhageners to improve their health and how lighting can make it more accessible and attractive to move around the city.

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2.4. Project Vision

The conclusion of the research presented shows that having public spaces is not enough, but to aim for a safe, sustainable, holistic city planning and healthy city should be the main objective. Places where social activities are taking place and there is constant communication among people build a better city. By encompassing all these issues, we have as a result a “lively space”. The human scale must be present all the time so it could be a link between people, place and city.

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The main recommendations are to create attractive bike paths, to ensure sports facilities for children and young people and dimmed and indirect lighting for training.

One of the concepts developed in the Masterplan is Light for Movement: “Relevant, inviting, staging and possibly interactive lighting can support extended use of active zones during the dark hours. With the right lighting, you can create an attractive and eventful setting that also motivates and encourages an active lifestyle in dark hours. Attractive lighting caters for users who otherwise feel insecure by moving around in the evening.” It adds that the lighting can be based on the qualities of the site, the tools of the activity or the movement to create an aesthetic or even theatrical installation different from the surroundings. It encourages stimulating the senses to increase the user’s activity.

Living City. Closely related to Jan Gehl’s concept of lively space, this focus area shows the ambition of creating a better framework for social gatherings and community interaction. The aim is to create cosy spaces that invite to stay, bringing quality to the city life. Boyce mentions that another benefit of electrical light is “to encourage people not to be confined to their houses after dark but to engage in social activities elsewhere.” This is also connected with the idea of a 24-hours city and economy. According to Boyce, when most of the population was rural, most economically activities ceased after dark, but this changed with the migration to cities (Boyce, 2019). Nowadays, the amount of social and economic life that takes place in the hours after dark is growing and “as we start to understand the importance and distinctiveness of the different shades of night, from dusk till dawn, we shift away from seeing light as a purely functional element.” (Arup, 2015) In a Nordic city like Copenhagen, this is even more relevant due to the long winter nights and transitions hours between day and night.

Mediating City. The Masterplan suggest developing special lighting solutions for buildings and places with historical or architectural qualities but avoiding banal and excessive illumination. It is mentioned that many architectural, cultural and historical monuments stop being an attraction at night because they disappear after dark. Current lighting technologies open the opportunity of working artistically with light, supporting an inspiring experience for residents and visitors. The recommendation of the Masterplan is to promote the local identity by understanding the context.

Boyce reflects on the capacity of light to create “something of beauty, something that can be seen in an entirely different way to how it appears by day.”

This means considering the emotional context apart from the functional and economic (Boyce, 2019).

The combination and implementation of all these focus areas, together with guidelines about lighting levels, luminaires typologies and colour temperatures, build what it can be called the image and identity of Copenhagen. Hence, they will be considered in the formulation of the Problem Statement of this project and its design solution.

To achieve this, there is a need to carefully review and link the space to the Sustainable Development Goals (SDGs) since these are designed to be “a blueprint to achieve a better and more sustainable future for all” (UN City, 2020).

Meanwhile, when it comes to the public realm, the light plays a key role, the focus areas of the Copenhagen Lighting Masterplan must be used as the foundation for a holistic design that will create a unique image to shape an identity that goes according to the city of Copenhagen.

Taking all these considerations the following Initial Research Question was formulated: “Imagine if interactive lighting could create a lively space developing communication among people, considering different scales and shaping an identity within the image of Copenhagen as a dark city.”

In the following step, an analysis will be conducted, in order to have a better understanding of Langeliniekajen and define the criteria and research question.

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DESIGN INTENTIONS

3.1. Analysis To give a framework foundation to the site analysis, the structure proposed by Mette Hvaas and Ellen Kathrine Hansen in their conference Using scenography as a framework to design lighting scenarios in the urban nightscape was applied. In the lecture, the authors create a parallel between nocturnal lighting and theatre scenography. Four areas are considered, being those The Setting, The Actor, The Play and The Light (Fig 3.1). The Setting is related to the urban space and the architecture of the place, providing the context to the urban design. The Actor is the pedestrian and user of the analysed space. The Play symbolized the actions performed in the site, considering not only activities but also the dynamics and flow of users in the space. To finalise, The Light describes the current lighting situation, both daylight and electrical light, analysing the light quality, the atmospheres created and the users’ perception. Since The Actor and The Play are intrinsically related, they will be presented together in the analysis.

Figure 3.1 The Setting, The Light, The Actor, The Play

3.1.1. The setting Location and history

03 DESIGN INTENTIONS

Figure 3.2 Langelinie areas

The Langelinie quay is in the North-East of Copenhagen, among Østerbro, the Inner City, and the Øresund strait. Mainly recognised by the visitors from The Little Mermaid statue, it is a historical area of the city composed of four different zones: Kastellet (the fortress), Langelinieparken (the park), Langelinie Lystbådehavn (the marina) and Langelinikajen (the pier), being the last one the place used for this project (Fig 3.2).

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Before the fortress was built, there was a dam called Lange Linie. In 1664, the Kastellet area was built alongside Langelinie, which was part of the outer fortification. However, the planned castle was never erected. Its military origins determine its characteristic topography with the bastions and the double water moat. After 1666, the northern entrance to the city was only defended by Kastellet.

In the earlies 1780s, Langelinieparken was opened to the public. At the beginning of the 19th century two relevant episodes took place in the waters next to Langelinie shore: The First Battle of Copenhagen or Slaget på Reden (1801) and the Second Battle of Copenhagen (1807), when the city was bombarded by the British during the Napoleonic Wars (Hovedstadshistorie.dk, 2021).

Langelinieparken, which stretches along Kastellet, was built during the second half of the century and it became very popular among locals. In 1884 the first Langelinie Pavilion, a restaurant with club rooms, was opened by the Danish Association for Pleasure Sailing; while in 1890 the new Marina was finished (Østerbro Liv, 2019).

The Freeport of Langeliniekaj was the last land reclamation. The two harbour basins and the raised promenade was an engineering achievement for Copenhagen, that employed more than 4.000 men to complete it in 1894. From the 1910s, thousands of people left from here to the USA looking forward to a better life. Therefore, Langeliniekajen was the last memory of their country for many Danes. During the First World War, the migration lowered but passenger’s ships continued boarding until the 1960s. During these years, there were other two important episodes: Danish Jews were deported from Langeliniekajen in 1943 and MS Jutlandia, a cargo ship, departed to provide medical support on the Korean War in 1950 (Hammer, 2021). Two memorial stones remember these two facts on site.

Looking at the old pictures of the place (Fig 3.3), it is possible to observe that, except for the buildings, almost nothing has changed. The legibility, structure and location of the vegetation are basically identical and even

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elements like the fences have been preserved.

Nowadays, the main tourist attraction in Langeliniekajen is a sculpture group called The Genetically Modified Little Mermaid (2006), a contemporaneous interpretation of The Little Mermaid, the Copenhagen landmark unveiled in 1913 in front of Langelinieparken.

The area has suffered some transformations in recent years. It counts with a mix of residential and corporate buildings (Fig 3.4). The southern buildings are residentials while the northern ones have been recently built to house offices, like Pier 47, one of the headquarters of Danmarks Nation27

Figure3.3 Historical pictures of Langeliniekajen

Figure 3.4 Depiction of Langelinikajen buildings

albank. Dahlerups Pakhus, a former warehouse built at the same time that the pier, can also be found there.

Langeliniekajen is currently operating as a cruise terminal, together with Nordre Toldbod and Oceankaj (Visit Denmark, 2021). This is the reason why the waterfront is closed to the public by a fence and reserved for disembarkment. At the beginning of 2023, there will be new shore power systems after an extensive renovation. Due to the construction of Oceankaj, the cruise traffic at the Langeliniekaj had lessened before the COVID-19 pandemic (whatsinport.com, 2021). Moreover, a new terminal directly north of Oceankaj will be operating soon. Therefore, although the Langeliniekaj will continue operating as a quay, it is a good moment to think about promoting it among locals since there will be fewer tourists in the future.

03 DESIGN INTENTIONS

Urban context: Kevin Lynch analysis

Kevin Lynch’s cognitive maps are commonly used in urban planning to show the perception of a city or a part of it from the point of view of the inhabitant or visitor. Langeliniekajen problems and potentials cannot be understood without putting them in relation to its surroundings and city flows. This kind of analysis limits itself to the effects of the physical and perceptible objects, without considering other aspects such as the history, functions or social meanings (Lynch, 1960). However, it is a subjective interpretation and product of the movements of the observer.

Although Kevin Lynch’s method requires several interviews to overlap individual images, the following analysis for Langeliniekajen (Fig 3.5) has been only made with the observations and memories of the group members due to the time and social limitations.

Lynch introduces five types of elements: landmarks, nodes, paths, edges and districts.

Paths. “Paths are the channels along which the observer customarily, occasionally, or potentially moves. […] People observe the city while moving through it, and along these paths, the other environmental elements are arranged and related.”

The grid of streets of the Inner city is interrupted by the park. Thus, the flows of pedestrians are dissolved. The main avenue in the surroundings is Folke Bernadottes Allé, with an important movement of vehicles. How28

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ever, only a couple of roads with scarce traffic arrive at Langeliniekajen. At Langeliniekajen, two roads with slow traffic flank the raised path, that it is the continuation of Langelinieparken for the pedestrians and cyclist.

Edges. “Edges are the linear elements not used or considered as paths by the observer. They are the boundaries between two phases, linear breaks in continuity.”

All the waterfronts can be considered as an edge since it isolates and makes it more difficult to arrive there from other points of the city that are geographically close. On the other hand, the railways of the train to Østerport interrupt the pedestrian flows coming from Østerbro, separating both areas of the city and limiting the connection to Langeliniebro. The terrain slopes, including the own Langeliniekaj, entail also some breaks in the continuity of movements.

Districts. “Districts are the medium-to-Iarge sections of the city, conceived of as having two-dimensional extent, which the observer mentally enters "inside of," and which are recognized as having some common, identifying character.”

Unlike the historical buildings on the other side of the park or the rows of houses of Nyboder, around Langeliniekajen there is a mix of residential and office buildings, most of them contemporaneous. Langeliniejaken itself has its character, mixing the historical construction, the new buildings and the quay.

Nodes. “Nodes are points, the strategic spots in a city into which an observer can enter, and which are the intensive foci to and from which he is travelling. They may be primarily junctions, places of a break in transportation, a crossing or convergence of paths, moments of shift from one structure to another.” Østerport Station is the biggest node close to Langeliniekajen. Commuters, pedestrians from Østerbro and vehicles from Folke Bernadottes Allé converge there. Another smaller node is the cross between Folke Bernadottes Allé and Langeliniebro. The different quays (Nordre Toldbod, Oceankaj and Langeliniekajen itself) can be considered nodes since they generate big gatherings of tourists, but not locals.

Figure3.5 Kevin Lynch’s analysis for Langelinie

Landmarks. “Landmarks are another type of point-reference, but in this case, the observer does not enter within them, they are external. They are usually a rather simply defined physical object: building, sign, store, or mountain. Their use involves the singling out of one element from a host of possibilities.” Some landmarks are distant ones and others are local.

The presence of historical monuments and attractions disappears as we approach Langeliniekajen. There is also a lack of high landmarks visible from the distance. However, from Langeliniekajen it can be seen CopenHill, with even more noticeable after dark.

To sum up, Langeliniekajen is isolated and disconnected from the city.

The main reasons are the lack of landmarks, nodes and strong paths and the presence of big edges. Moreover, due to its morphology, it is highly exposed to weather conditions. The lack of visitors is even more noticeable at night when the shops close and the weather gets worse.

The raised linear path acts at the same time as a path and edge between the sea and the city. The direct contact with the sea is a disadvantage in terms of connections but, together with its historical value, gives it a characteristic image, different from any other place in Copenhagen.

There are some external factors that a lighting intervention on Langeliniekajen cannot solve. Despite this, lighting can contribute to solving some of them, highlighting its historical value, attracting more local visitors or breaking the difference between heights.

03 DESIGN INTENTIONS

Close context: Gordon Cullen analysis

A good analysis of a public space implies observing the place and its social dynamics to understand its context. In other words, wandering around it at different hours and spending time looking and discovering. Langeliniekajen is a complex site since its changes are notorious depending on the time of the day and the year, the point of view and temporary factors like the weather or the cruise ships.

According to Gordon Cullen, vision evokes our memories and experiences producing an emotional reaction (Cullen, 1961). This happens in three ways: Optics and serial vision. A series of revelations are shown while we walk. We should distinguish between the existing view and the emerging view. In a linear and repetitive place like Langeliniekajen, both views are comparable most of the time. Cullen says that “A long straight road has little impact because the initial view is soon digested and becomes monotonous.

The human mind reacts to a contrast, to the difference between things […]. It comes alive through the drama of juxtaposition.”

It is necessary to add to Cullen’s theory that new revelations also appear at different times of the day. The first site visit for choosing the space took place at night when Langeliniekajen appears unpleasant and lack life.

Surprisingly, it transforms during the day and transitions hours, revealing a beautiful and inspiring area. To document the opposite feelings between night and day through a serial vision, two similar videos were recorded, they can be watched on the following link: https://drive.google.com/drive/ folders/1zfgEfRF5vLjRa1-TYu72p2y7ElKcRlZ2?usp=sharing Place. We react in a different way depending on the position of our body in its environment. As Cullen points out, being below the ground level or above causes different emotional reactions. Langeliniekajen has that capacity to evoke different feelings when you are walking through the raised path, above the city and sea levels, or when you are in the lower streets.

Being there you perceive that something is happening above you, although you cannot realise exactly what that is. There is even a third vision, the 30

vision of the neighbours from the windows and the tourists from the tall cruise ships. They perceive Langeliniekajen as a carpet under them. The vertical surfaces almost disappear in favour of the horizontal surfaces and the tree crowns.

In that sense, it is also interesting that Langeliniekajen works at dissimilar scales. From the human scale given by the architectural elements like the windows or fences, to the urban scale. The repetition of a similar section of path builds a global image visible from the other shore of the city.

Moreover, the size perception of the place can change from “big” to “small” depending on the presence of the huge cruise ships. (Fig 3.6).

Figure3.6 Langeliniekajen’s different scales

Content. The colours, textures, styles and uniqueness of a place causes an emotional response as well. At Langeliniekajen we can perceive the pass of time in its stone walls. The iron old fences talk about other age, while the blueish colour of the sea mixes with the sky. In the middle of a grey and brown colour palette, the small red and white lighthouse stands out at the end of the quay and the colours of the grass and trees change with the season (Fig 3.7).

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All these qualities, points of view and a mix of scales build the image of Langeliniekajen. Therefore, an appropriate lighting design should focus on these strengths to reinforce its identity after dark.

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Figure3.7 Tall fence, wall texture and lighthouse at the end of the quay

3.1.2. The play

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Flows The marine and boat traffic of Langeliniekajen is on the east side. Opposite to it is the location of the permanent leisure and supply shops servicing the flow of visitors of Langeliniekajen. The place can be visited by sea, car, bicycle or foot (Fig 3.8).

The flow of visiting people is structured in four ways: 1. A two-way car flow along the pier with a U-turn at the end, with parking areas along the pier in dedicated spots. Additionally, there is a bus line that operates until 18h. The parking places are at the beginning and at the end of the pier, with only a few more in the middle. Between the road and the final parking lot, a roundabout is situated. Even if the traffic is usually scarce, it should be considered the freight traffic for the cruise ships when they are operating. At the other side of the raised path there is another road, that ends without connecting with the front one. This one is mainly used by workers and residents of that street.

2. The Pedestrian Flow from the beginning of the pier with various levels: •• The first level is right by the waterfront all along the pier´s length.

This part is private and closed by a fence, with the purpose of not letting people walk outside cruise ships opening hours.

•• The second level is between the driveway and the shops. The first and the second level are connected at the end when the raised path goes downwards.

•• The third level is represented by the raised path. People naturally enter the area from the park to the raised pathway, while the low pathway is entered from the marina.

•• The fourth level is represented by surrounding the buildings on the other side of the pier.

3. Vertical Circulation Flow: along the pier, there are four vertical circulations, one being the open stairs connecting the upper pathway with the lower walkway, with the other three being a couple of internal closed stairways and an elevator. The boxes that contain them are made of glass and connect the interior of the shopping mall with the upper part. Employing this, there is a lack of vertical communications, and, since they are not visible, it is difficult to navigate around the space and to find the underlying cause of how to move up or down.

4. The Passages Flow: the waterside and the building area can be accessed by two passages, with the shape of tunnels.

Figure 3.8 Flows at Langelinikajen

Elements and landmarks The Fig 3.9 shows the promenade´s points of interests, with larger groupings at the beginning and the end of the pier.

Starting from the beginning of the pier, there are six main points of interests: the monuments, the restaurants, parking lots, shopping stores, 32

User Groups Different users were identified according to the observations; however, a detailed analysis of the tourist user group was impossible due to the pandemic.

Following the observations, the users were characterised in the following groups (Fig 3.10): The Tourist. Arriving on a cruise ship or travelling from the city for visiting purposes. Tourists are mostly active in the summer season and leave before 6 pm along with the ships that depart, as displayed in cruises ship companies' websites.

The Walker. Residents or people finishing work in the nearby area and feel the need for a walk. Pedestrians with several purposes cross the pier or walk along its edge, some for a stroll and some with a destination in mind.

Since the pier has more of a recreational character, it is possible to see the highest intensity of people outside of the work hours. Over the seasons the summer period is the most popular.

The Runner. Residents or people commuting to enjoy a run by the seaside. The runner moves in a dedicated area and they are not in contact with the pier below, they mostly run on the raised path.

The Shopper. Tourists from cruise ships or residents who enjoy shopping. The majority are the locals that visit the outlets just for shopping.

They arrive there by car or public transport and are not interested in dis33

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lounge place, and the lighthouse.

There are five monuments to be seen on Langeliniekajen, spread out in the following order: •• the Bronze Bear with Two Cubs sculpture, situated at the beginning of the Langeliniekaj •• the memorial stone of the hospital ship Jutlandia •• the sculpture group called The Genetically Modified Little Mermaid, by Bjørn Nørgaard •• the statue of Danish engineer Holger Aagaard Hammerich •• a monument rock dedicated to the Jewish population and Danish communists sent to concentration camps.

However, these monuments are not an attraction or relevant for the people coming on site. An exception of the case is The Genetically Modified Little Mermaid that is also a recommendation of Copenhagen’s official tourism organisation. (visitcopenhagen.com) The shops, restaurants and coffee shops create a gathering point and give people a reason to visit the place, but this is especially true when cruise ships are docked, and tourists are visiting.

At the end of the pier, one can find the lighthouse as well as food and beverage shops. There is not a particular reason for someone to cross the whole pier and to go at the end of it.

In conclusion, Langeliniekaj does not present enough attractiveness for people, even some monuments can be found there, they do not represent the image of Copenhagen. In addition, the lack of necessary activities in the area does not contribute to make Langeliniekaj a lively space.

Figure 3.9 Landmarks, monuments and elements at Langeliniekajen

covering the place.

The Fisher. Leisure and recreational fishers. Most of the fishermen arrive by car or bicycle and stay in the area for a longer period. Most of them occupy the beginning and the end of the pier when and where the fish are most abundant.

A general observation is that people use the area the most when the weather is more inviting. During winter, all these users disappear gradually after dark. The runner is the only user group that comes frequently to the place even after dark, along with the people who start fishing during dusk.

Figure 3.10 User groups

Survey

03 DESIGN INTENTIONS

Figure 3.11 Responses to the close-end questions from the survey

During the analysis, an online survey and an on-site interview were used to gather data and conclude how frequently people visit Langeliniekajen. To better understand the perception of people of the space, a survey was developed and distributed over the social network to the target users.

Due to the low concurrence of the site, the main question that arose was if people were not visiting the site because. They were not aware of its existence, or they were choosing not to visit the place.

The purpose of the survey was to increase the data available and understand, from a much higher number of subjects, their behaviour towards the space. Being an online survey provided several advantages, such as ease of completion, the possibility of having more subjects to answer and easy compiling of results compared to the interviews. In a sense, the interviews, being a more direct and personal approach, helped with a deeper understanding of the issues, whereas the survey helped with the wider distribution of a set of questions to as many people as possible.

The survey casted a wide net and included questions regarding people's visits to the space too, just in case some of the respondents had visited the space. The methodology of conducting both the interviews and the survey covered enough questions and was addressed to enough respondents to get a good understanding of their behaviour, worries and wants regarding the space.

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The survey received 85 responses to the question "How long have you been living in Copenhagen" with 16.5% answering "less than a year", 41.2% saying "more than 5 years" and 42.4% answering "between 1-5 years". This shows a good distribution of the survey, with over 83% the people having lived in the city for more than 1 year. This is relevant because people who just arrived in Copenhagen might not know about the space yet and thus the site is more popular among locals or people living in the city for a long time (Fig 3.11) Furthermore, a large majority of 81.6% of people know about the place, with 67.8% having been to the place already. Again, this shows that the target users of the survey had some knowledge and could express an informed opinion about the space.

Over 86.1% of the respondents said they visited the place frequently adding more confidence in the results of the survey. Strongly relevant are the answers to "Do you visit the place after dark?" questions, with 86.1% saying that they don't. This represents a huge proportion of respondents, highlighting issues related to poor lighting, personal safety reasons, lack of activities and points of interests.

Following the survey, ten responses were received regarding why people go to the place, with an additional 47 responses why they do not go to the place. (Fig 3.12). Most of the answers about why people visited the place, gave reasons such as "living or working nearby", or "going for a walk or running". One answer referred to the raised part, mentioning that it was a nice feeling to go up and down on that path. Another answer mentioned that it was peaceful and a nice view for an evening walk.

Figure 3.12 Extract of responses to the open-end questions from the survey

The survey also received answers concerning why people do not visit the space. The proportion of answers given to why they do not visit versus why they do visit is overwhelming, with a 4.5 x ratio. This is indicative of clear reasons and justifications as to why the current state of the space is not fulfilling its potential and shows the problems people are seeing with the space, especially after dark, from a safety perspective. Most of the answers mentioned that there was not much to see and nothing interesting to do, that the space was extremely dark and there was a lack of visibility. The place is considered to be far away from other points of interest of the city.

Judging the answers from the survey, there is a strong suggestion of a missed opportunity in the utilization of the space. Since it represents the end of the Copenhagen waterfront, it has a lot of potential for attracting more visitors, including tourists, locals and people who work in the area.

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03 DESIGN INTENTIONS

Interviews A set of questions was created to gather information from the people present on site. Interviews are used to find out personal details about the space perception. The purpose of the interviews was to discuss the space and its problems directly with the people visiting it, on the site. This approach gives more context to the data and helps, interviews are more complex to carry out but it provides valuable insights through an in-person conversation between the interviewer and the interviewee.

The questions were formulated following the recommendations of Luciana Martinez from Light Follow Behaviour, one of the guest lecturers in Light & Context course. The purpose is to avoid influencing on interviewee’s answers. The final questions used on site were: •• How often and why do you come here?

•• What times and days do you come here and why?

•• Do you feel different in the space after dark?

•• Are there areas you feel are difficult to navigate after dark?

•• Are there areas that you specifically enjoy?

•• Has your experience of the space changed since tourists stopped visiting?

•• What would you like the space to feel like after dark?

The interviews were conducted during dusk and night and the interviewees found on site were from the walker and fishermen categories.

1. The first Interviewee said she came often to the space because she worked in a building nearby and she enjoyed having a drink with her friends outside office hours. She came mostly when night falls, but she didn't necessarily feel safe in the space, she mentioned: “I wouldn't come here all alone”, the reason why she came accompanied by a friend or two most of the times. She lived for five years in the area and observed that since the pandemic, the number of people in the area was reduced substantially, given the fact that there were fewer cruise ships docking. Before COVID-19 there were lots of cruise ships coming and docking by the pier.

Now, she said, a nice change to the place was that people picked up fishing, something they didn't use to do before.

2. The second interviewee mentioned that he didn't come often to the place, that he received recommendations from social media about it being a good place for fishing in Copenhagen, but that he did not come otherwise.

He mentioned that the fishermen arrived after dark and that they preferred fishing spots with light. Small fish come attracted by the light so people fish around the light poles generally. He prefers to come during these times because there is not a lot of activity.

3. A third interviewee mentioned he was at the place because he lived close by; he mentioned that he enjoyed taking a walk because "There are hardly any people". During the weekend, offices were empty, and he enjoyed the solitude and that during the pandemic fewer people visited the place. He felt different in the space after dark, mentioning that he didn't come at that time because there are not a lot of exits: "no easy exits, you feel trapped". He felt unsafe strolling around at night. He liked the benches up because he could see the view, mentioning it was nice for him to go from the low level up and down again to enjoy the view from different perspectives. He hadn't seen any cruises coming in for quite some time. He had noticed some right before the pandemic. He mentioned he didn't consider the space, that it was a bit claustrophobic due to lack of lighting: "you cannot really see who´s coming and who´s going". He would prefer more lights in the space. Atmospheric lighting was preferred or something ´more´, a sort of new lighting design that would fit the old architecture. Concerning the 36

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architecture of the fence, he mentioned that it could be nicer if there was lighting integrated into the existing architecture. He enjoyed the lighting in Copenhagen describing it as "soft and nice", however the specific place still needed some work to be done regarding this.

All interviewees gave their personal opinions about the space with all of them mentioning that the space did not feel safe enough, didn't have enough light and that it needed more work to increase its appeal. The low number of interviewees was indicative of a space that did not attract visitors and since cruise ships had stopped travelling as much, the tourists stopped coming in as well. All interviewees agreed that the space benefited from a good location and that much more could be done to improve it.

3.1.3 The light Daylight

“Access to sunlight makes people healthier, parks greener, and cities stronger. This is not lofty conjecture; it is statistical reality backed up by data.

A city that fails to keep its built and natural environments in balance leaves itself vulnerable to the worst threats facing humanity, from the obesity epidemic to climate change.” (MAS, 2019) Daylight is a broader category of light produced by the sun; it encompasses direct and diffused sunlight, as well as light reflected from buildings and other surfaces; stems solely from direct, scattered and reflected sunlight, and undergoes dynamic changes in irradiance and spectral power composition due to latitude, time of day, time of year and the nature of the physical environment (reflections, buildings and vegetation).

Daylight is fundamental to life. Humanity has evolved in daylight though out its history. Access to it is vital for our health and well-being; even beyond that, daylight can shape the atmosphere and textures, creates visual

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Figure 3.13 Sun path diagram

environments that provide delight and intrigue for people that cannot be achieved with electric lighting. (Davies, 2016) Langeliniekaj is secluded from the city, the daylight takes a fundamental role in the space. Its location at the edge of the city acts in favour of the space when it comes to daylight since there are only buildings along the west side, this provides a clear view of its surroundings (such as the waterfront) gaining direct sunlight most of the day.

The below diagram (Fig 3.13) shows the location, orientation and analyse of the sun path during the summer and winter solstice at noon.

Thought the year is possible to directly see the sunrise from the quay (without any obstructions) and the sunset only in the summer months due to the long transition hours that are characteristic of the latitude of Copenhagen.

Electrical light

The site has some characteristics that make the space unique in the city, but the lighting does not enhance them. The position, intensity, directionality, Correlated Colour Temperature (CCT) and the poor choice of lighting fixtures create a problem rather than a solution.

The illumination should create a proper atmosphere after dark but may also be used to reveal or interpret aspects of Langeliniekaj history that have been lost or are hidden.

Light sources

The pier contains four main different elements as a light source (Fig 3.14).

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Figure 3.14 Depiction of the luminaries found at Langeliniekajen

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1. The first ones are relatively new poles as streetlights that are located at a street level alongside the back of raised promenade, they create a high contrast between dark and bright areas, although the height of the fixture is appropriate for the scale and the use (4.00m), it produces glare.

2. The second source is located on the other side of the quay facing the waterfront. It consists of a wall-mounted fixture (0.60 m from the ground) with a warm fluorescent lamp that illuminates the raised sidewalk for the shoppers, but it does not highlight the architecture or materials. It is important to note that this light is only placed in a small portion of the pier, where the stores are located at.

3. The general lighting of the promenade consists of tall streetlighting poles (6.00m to 7.00m) that match the historical architecture of the place, having an antique look, this is predominantly warm with a medium to low colour rendering (high-pressure sodium) that doesn’t go accordantly to the master plan of the city of Copenhagen.

They provide a soft, muted visual backdrop to activities after dark, with low light levels between bright areas and harsh shadows. As a result, they create a feeling of insecurity while producing glare for the users in the raised park of the promenade.

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4. At the end of the quay in the parking lot, there are tall poles (7.00m to 8.00m). This height is perceived out of scale; they create a hard light that creates hard-edged shadows which are unflattering to the site and create an unwelcoming atmosphere.

Except for the second source of light, the illumination of the space is mainly for the vehicles and not designed for human perception. These brightly lit areas create problems by making adjacencies feel dark by the high contrast, therefore unnecessary energy use and light pollution.

Observations

The images below show the current setting and the perception of the light on each one of the different zones: •• Raised promenade -first stretch (Fig. 3.15, Picture 1): High contrast and poor lighting levels between brightly lit areas and harsh shadows create a feeling of insecurity. There is a lack of vertical surfaces and, therefore, ambient lighting.

•• Raised promenade -second stretch (Fig. 3.15, Picture 2): The Colour Rendering Index is poor; the light is greenish. The Colour Temperature is not warm as the master plan points out for this area.

Trees are blocking the light creating new shadowed areas. These luminaires produce glare, and they result disturbing.

•• Parking Lot (Fig. 3.15, Picture 3): The hard light from the luminaires creates hard-edged shadows which are unflattering to the place and create an unwelcoming atmosphere. The height of the poles of the parking lot is out of scale.

•• End of the pier (Fig. 3.15, Picture 4): The end of the promenade is not highlighted in any special way. High contrast generates a feeling of insecurity.

•• Front street and quay (Fig. 3.15, Picture 5): High contrast between dark and bright areas, no hierarchy among sidewalk, road and quay.

•• Backstreet (Fig. 3.15, Picture 6): These streetlights are newer, and the colour rendering index seems better than the other lighting fixtures. Although there is also a high contrast between dark and bright areas, the atmosphere seems appropriate for this street, related to the housing buildings. The luminaries produce a small

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Figure 3.15 Different views at night

Figure 3.14 Depiction of the luminaries found at Langeliniekajen

amount of glare, but it does not result in uncomfortable.

Good lighting can greatly help to make this linear park more accessible, easy to navigate during the night time and help to encourage a feeling of safety. Well-lit areas are generally pleasant places for people.

Considering the privileged location of Langeliniekaj due to its proximity to the water and the activities taking place in the place, it is important to define the areas where darkness needs to be preserved to maintain the views of the night sky. This will be capable of defining the quality and quantity of the light employed across the site. Taking this into account will promote views into and out of the city.

Positive aspects of the existing light: •• Generally low intensity of light •• Use of high-pressure sodium, supplying a muted and warm characteristic.

Negative aspects of the existing light: •• The scales of the lighting are inappropriate for the pedestrian area and the scale of the surrounding architecture.

•• Disconnection between the illumination and the activities.

•• Lack of hierarchy of the lighting elements, little light for orientation, light for security or light for beautification.

Measurements

03 DESIGN INTENTIONS

Figure 3.14 Depiction of the luminaries found at Langeliniekajen

To understand and analyse the existing light, different methods and tools were implemented. The first one was measuring the illuminance of each luminaire. As mentioned before the light in the raised path comes from the tall streetlights. That is the reason why the separation between each light pole is big since the light is addressed for the vehicles and not for the pedestrians. Consequently, there is no uniformity. In some areas with as little as 0 lux. The following sections (Fig 3.16) illustrate the comparison of the illuminance level on the axis where the light fixture is placed (top) and in between these light fixtures (bottom).

To support these findings of the lighting distribution, different lumi-

Figure 3.16 Sections illustrating the lighting levels

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nance maps were produced. To create them, a series of photographs with varying aperture speeds were taken. The software Photosphere was used to generate the HDR images and the false colour maps that show the relative luminance within the spaces. By altering the HDR images with false colour mapping, the high luminous contrast of the surfaces in each zone, or lack thereof, and the glare issues can be seen more clearly. (Fig. 3.17)

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It should be noted that by the time the images were taken there was no possibility to have a fish-eye lens nor a luminance meter available to have a more accurate measurement as a reference. Nevertheless, the images were used to support the observations in terms of contrast but not for quantitative data. For that reason, the scale of false colours is not shown together with the images.

All the images were taken during a foggy night and, as a result, the luminance of the sky is higher. Besides the high contrast between areas, the images also show the glare and light pollution that the streetlamps produce.

Masterplan’s requirements

Following the lighting masterplan as a guideline, Langeliniekaj falls in the category of a local street, meaning that the light should be treated as warm white light with a CCT of 3000K; Moreover, this value is commonly used for the lighting design of pedestrian or slow traffic areas in urban public spaces, such as this one. Nevertheless, this indication does not take into consideration the raised park, for this, the value used was the one shown for paths for soft road users in city traffic, natural white light of 3500K. Langeliniekaj is treated under the classification of E2, consequently, the light levels must be 2.5 lux and uniformity of 0.2 (Københavns Kommune et al., 2014) (Fig 3.18) Further investigation shows a discrepancy in the suggested recommendations. The light in the area should be illuminated with warm white lights.

The selected luminaire types are not being used as their whole. One side of the pier has outdated lamps and while the other side has a light that was renewed in back 2013.

This creates a problem since there is a lack of congruence between what 41

Figure 3.17 Luminance maps with false colours

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Figure 3.18 Requirements according to Copenhaguen Lighting Masterplan

is physically there and the six focus targets (see chapter 2.3.2 Belysningsmasterplan for København).

Safe City. There is no layer of light being used, as a result, there is a lack of lighting hierarchy. Due to the use of just one type of source light that provides illumination to the whole area.

Secure City. The low levels of illumination make it hard to have clear visibility of the area, and consequently, create on people a feeling of disorientation by not giving an overview of the space and almost impossible to have good facial recognition.

Sustainable City. The street poles area place without taking into consideration the human scale therefore there is a lot of light that is not directed to its specific use, creating glare problems for the pedestrians and ecosystem, there is hard shadows by sharp contrast this could be translated into unnecessary energy use and light pollution affecting the views to the night sky. Moreover, the luminaires are not energy efficient since they use old technologies and not LED. Active City. The lack of proper lighting does not support the active life in the space, it is not inviting and does not create a connection of the space with the people, does not adapt to users making them feel unsafe when moving around at night.

Living City. Somehow space respects the vision of Copenhagen as a dark city but sadly not by the right means, the set of problems listed so far does not show ambitions on creating a place for community interaction, this by the lack of cosy spaces that invite to stay, bringing quality to the city life.

Mediating City. The disconnection between the light solution of the space and the historical architecture makes Langeliniekaj disappear after dark. No lighting technology has been implemented in the area, the use of this could support an inspiring experience for residents and visitors by promoting the local identity and understanding the context.

Regarding Langelinie, it is also said in the Masterplan that “A lighting strategy that works with effect lighting on monuments will help to strengthen the area's attraction value. The desire is expressed to create more life and give atmosphere and character to the waterfront after dark.”

This means shaping an identity to increase its attraction and life.

3.1.4 Problems and conclusions

Following the structure applied on the site analysis, the problems found on Langeliniekajen can be grouped into The Light, The Play, and The Setting.

The Actor was intentionally omitted since people is a variable that can be influenced but not directly modified by a lighting design.

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•• Accessibility: Langeliniekaj is disconnected from the rest of the city. Its particular location and shape, which can only be reached from one side of it, added to the fact that is surrounded by water, makes the place difficult to access. In addition, only one line of busses that runs until 6 pm, is the only public transportation available there.

•• Architecture: the raised park itself acts as an edge, limiting the passage between the quay and the lateral street and buildings.

•• Communication: the quay and the raised park, with different heights and few accesses, segregate and keeps people away from others. Is not possible for people walking down along the quay to know if there are people on the raised park.

•• Weather: the site is exposed to weather conditions, not only for being an outdoor space but also for the proximity to the sea and the presence of buildings only on one side.

The Play:

•• Disconnection: there is a lack of dialogue between the space and the visitor.

•• 24-hour economy: the shops at Langeliniekaj close at 18:00, and after that, the flow of people decreases significantly.

•• Activities: only optional and social activities take place there. The lack of necessary activities was expressed both in surveys and interviews, with people expressing they do not have a proper reason to go to Langeliniekaj.

•• Landmark: besides some monuments, there are not points of interest that could create attraction in people to visit the place.

The light:

•• Feeling of insecurity: the street lighting spilt on the raised park, creates high contrast on the path. For this reason, some areas are extremely dark, generating a feeling of insecurity since people cannot see further away.

•• Unpleasant atmosphere: the light sources in the place have a low CRI value, added to the poor light distribution and, due to the position and type of the luminaires, glare is produced. All these factors together create an unpleasant atmosphere for visitors.

•• Masterplan requirements: The Copenhagen Lighting Masterplan specifies a CCT value of 3000K in paths and green areas, which is not the one used at Langeliniekaj. Moreover, the six focus areas are not strengthened.

•• Design: the only light present in the raised park is produced by the street lighting, hence it is not specific to the space, and it does not highlight the architectural features of the place.

•• Communication: due to the high contrast and the dark areas, is not possible for people to recognise if somebody else is in the place, so they are not able to communicate their presence there, and interaction among people is not supported.

In conclusion, the poor quality in the lighting at Langeliniekajen added to the disconnection between the different parts of the place and the lack of necessary activities generate a situation where people do not feel attracted to visit the area. A quote extracted from the book Cities for People, by Jan 43

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The Setting:

Gehl, can summarise the current state of Langeliniekaj: “Nothing happens because nothing happens because...”

Jan Gehl, Cities for People, 2010.

3.2. Criteria 3.2.1. Interactive lighting for communication “Our propose is to generate a lively space through an interactive lighting solution, creating new ways of communication among visitors and linking human and urban scale.”

Through the implementation of an interactive lighting design that promotes communication among people, it could be possible to bring life to the place. Bringing attractiveness to the area, the affluence of people could increase, using a quantitative approach as stated by Jan Gehl. Moreover, if people find the place interesting and enjoyable, they could stay longer there, following a qualitative approach to create a lively space. This design could link the urban scale, which can be understood as the dimensions of Langeliniekaj, with the human scale, limited by the human movement capabilities and senses. In addition, it could be important to link the different heights of Langeliniekajen, creating communication between the raised path and the quay.

3.2.2. Integrated lighting for revealing the architecture

“Our propose is to use lighting as an integral part of the architecture to preserve and reveal the historical character of Langeliniekaj.”

Through the use of integrated luminaries, the architecture will not be modified, preserving the historical value of Langeliniekaj. At the same time, the luminaries should highlight the main architectural features of the site, as the stone facades, in a quest for revealing the unique characteristics of the place. Moreover, of being integrated, also they will be as unnoticeable as possible. The aim is to avoid "artefacts" objects that, during the day or after dark seem not to belong to the place, leaving the limelight to the architecture, the landscape and the views.

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3.2.3. Responsible outdoor lighting for preserving dark sky

“Our propose is to use the five principles for responsible outdoor lighting proposed by the International Dark-Sky Association to reduce light pollution and preserving the view of the sky. “ Through the implementation of the Five Principles for Responsible Outdoor Lighting, the design should respect the natural life of Langeliniekajen, while at the same time reduce the light pollution, allowing visitors to see the stars during the dark hours.

3.3. Research Question

In connection with the background research, analysis of the space and 44

the criteria previously described and proposed, the following research question was formulated: “How can light transform the Langeliniekaj into a lively space, enhancing communication through an interactive solution based on the movements of people, while it respects the existing architecture and dark sky?”

In the next chapter, the knowledge gained will be used to propose a lighting design, incorporating the concepts derived from the criteria, aiming to solve the problems found.

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DESIGN PROPOSAL

4.1. Methods In order to get close to a better design, some references have been collected to investigate the possibilities of the best solutions for the project.

The mind mapping methodology was used for sketching ideas of the space by using the visual imagination. Subsequently, the brainstorming method continued with describing the sketches, associating them, compare and analyse them and in the end argue for and against the possibilities.

Different mood boards were done to map ideas, technologies, sketches, Dialux models, and other research about other inspirational projects (Figure 4.1). The project was evolved with the Copenhagen waterfront in mind, not to imitate what was already there but to create a new situation that would complement the continuous process of developing new areas along the waterfront for the inhabitants its visitors and the city itself.

4.2. Criteria Research

04 DESIGN PROPOSAL

4.2.1. Integrated lighting It is not just the presence of light, but the quality of the light and its integration that defines the experience of the user. Several modern or renovated cityscapes facilitate these techniques. From a long history of documenting urban areas, a new approach to lighting and interaction has emerged.

The purpose is not to put unnecessary objects in the spotlight, but to illuminate surfaces in a way that light is always present but never dominant or disturbing. (Figure 4.2) It is worth taking into consideration the fact that bright, direct lighting does not necessarily provide a good lighting design, and that smart lighting directed in the right places will provide a better feeling of cosiness, safety and security. Different research has shown that people might feel better in a lower lit environment. The study of Kochi Research shows that “Bright public lighting, in this case, would have been entirely counter-productive or simply useless – women would not use the main public spaces whatever the lux levels” where some women were asked what kind of lighting preferences would they have in order to increase their security and to continue a more comfortable day by day in the neighbourhood. They preferred a “small scale task-type lighting rather than bright and uniform coverage of public space” which meant they favoured the light that made them feel at ease and the type of light that is inviting and does not make one feel exposed. (Slater, 2020) Another example would be Dagenham and Barking's research, which conducted lots of interviews with the residents and people living in the suburbs. Most of the crimes mentioned by the interviewee were directly related to a type of “intrusive lighting, defensive architecture”. The findings, in this case, were that putting too much light in Barking will not solve any of the criminality in the area, but it will even draw in more danger for the locals. The high “dosages” of lighting will not work in this case, but if the lighting would be smartly oriented in a more aesthetic and integrated way, the level of comfort will rise for the inhabitants. (Slater, 2020) The conclusion arising from these studies shows what an important meaning a dimming light has on the people and their presence in the walking areas. It shows that social lighting is needed, the type of light that will perform in creating a better mood and encourage people to relax.

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Figure 4.1 Mood board with pictures of Copenhagen waterfront, reference of other projects and first attempts on Dialux

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The type of lighting that is not revealed, but hidden, not only does not disturb visually by giving glare but it also amplifies the feeling of safety and security in a space. The idea is to make the architecture illuminate its own surroundings and remove direct light sources that obscure the natural shape of the space. (Figure 4.2) Figure 4.2 1. Baylis Old School London (Nulty+). 2. Chelsea Barracks London (Nulty+). 3. High Line NYC (L’Observatoire International)

Figure 4.3 1. Cathedral of Málaga (Jesús Herraiz Iluminacion).

2. University of Birmingham (Speirs Major). 3, Sackler Crossing (Speirs Major)

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In Lightecture Magazine, Satu Streatfield describes a pleasant nocturnal walk in the city. A walk along a façade that has incorporated integrated luminaires is highlighted subtly. “The lighting does not describe the architecture in detail but inscribes a code of glowing lines, arcs and dots that rise from the street. (…) Finding beauty in frugal lighting schemes becomes a recurring theme on my walk. (…) And while much can be revealed through architecturally integrated(...) compared to the precision-targeted light “, as the author mentions. (Streatfield, 2020) Therefore, indirect lighting can have so much impact on a walker or visitor of the space, by having integrated lighting we can discover so much more than expected of the architecture or the history and character of the place. The space is depicted in an indirect way, rather than an obvious way.

The writer compares the integrated lighting with the direct light by describing the integrated one with a softer feeling and a theatrical effect.

While the wrong type of direct lighting can be described as “too stark... that reveals too much”. (Streatfield, 2020) It is possible to use LEDs to create an ambiental, integrated lighting design, as the LEDs can be easily dimmed down, and it can add a soft glow to the other surfaces (Figure 4.3). Moreover, new technologies have developed lighting fixtures of small dimensions and enough luminous flux. The architecture and ornaments can be highlighted in various intensities “Intensity´s of light is easily controlled in LEDs, they are dimmable without difficulty.

So, from the perspective of reducing lighting levels to the minimum needed

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for required tasks, they are ideal.” (Longcore, 2020) Langeliniekajen is also a residential area with a historical value, having too much light there would be disturbing also for the people living close by, therefore the use of media or bright lighting would be inefficient “(…) particularly in historic or residential zones, illuminated-media is often an ill-considered bright.” (Major, 2020) A mood of the space can be amplified with incorporated lighting by creating a calm and pleasant environment, a place that looks inviting, creates a unique ambience and therefore people are lured to spend time in that 50

4.2.2. Responsible outdoor lighting

The International Dark-Sky Association (IDA) is a leading organisation that promotes awareness about light pollution worldwide through education and the use of responsible lighting. The Dark-Sky Association sees the dark sky as a natural heritage that is inaccessible to a majority of the people living in or around cities and industrial areas. Together with the Illuminating Engineering Society (IES), they propose Five Principles for Responsible Outdoor Lighting to design beautiful, healthy and functional electric

Figure 4.4 Five Principles for Responsible Outdoor Lighting

lighting (figure 4.4)(darksky.org).

By working with the five principles, the project aims to solve the issues of both having an interactive approach while still put a big emphasis on showing respect to its surroundings. “Projects that incorporate these principles will save energy and money, reduce light pollution, and minimize wildlife disruption.” (darksky.org). The project works with the following principles of: Useful. “All light should have a clear purpose. Before installing or replacing a light, determine if light is needed. Consider how the use of light will impact the area, including wildlife and the environment. Consider using reflective paints or self-luminous markers for signs, curbs, and steps to reduce the need for permanently installed outdoor lighting.”

A useful light focuses on the situation, and it places itself for pragmatic reasons. The light does not stand as an ornament but as a gesture to the user and a complement to the environment in which it is placed. A useful light should only affect the area that it is oriented towards and should have a little, to no impact on areas outside of its field. As an example, a light can follow a pedestrian along a pathway instead of illuminating the entire pathway when there are no visitors. This way a useful light can be adaptive and solve several challenges at the same time. This ability is seen in smart lighting that intensifies when sensors give the information that something or someone is near. In useful integrated lighting, the synergy between light and surfaces creates a pleasant ambient atmosphere that makes it possible to navigate without being disturbed by spills of light as mentioned as well in the paragraph on Targeted Light. It has often been understood that darkness has different negative connotations, but it can also bring “visual silence”, calm and peace as well as protecting the natural habitat of birds and animals. (Major, 2020) Targeted. “Light should be directed only to where needed. Use shielding and careful aiming to target the direction of the light beam so that it points downward and does not spill beyond where it is needed.”

From a practical view, the targeted light should not reveal its light source. It operates with a proper shielding of the luminaire, or it should be placed in a position pointing downwards that does not directly affect the 51

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space”. Light is an extremely subtle medium in which values of illuminance, luminance, uniformity and glare are relative when considered the need to create character, ambience and identity” (Major, 2020)

04 DESIGN PROPOSAL

eye or the surroundings. A targeted light is also a focused light, a light that is specific for its context and not a generic streetlight as we see it in a generic city. The purpose is to move away from a homogenous lit city because not all parts of a city have the same identity and not all parts of a city need to tell the same story. This is specifically important when talking about light and a place of identity and belonging. In the context of a large scale down to defining the personal space that surrounds us, this can be done through the use of targeted light that is specific for the situation and its inhabitants.

Low light levels. “Light should be no brighter than necessary. Use the lowest light level required. Be mindful of surface conditions as some surfaces may reflect more light into the night sky than intended.”

It is not an absolute necessity for an intense light, but only enough light to be able to navigate. This has the benefits of lower light pollution and a side effect of lower energy consumption. With modern technology, light can be adjusted to the surface of where it is projected. Given what is happening in the world, light designers and manufacturers should be more aware of the global light pollution and how many areas are more lit than the others.

Similarly, there is a phenomenon called "light poverty" taking place in the suburbs of Africa. From a larger scale, this is similar to what is taking place in the neighbourhoods of a city. There are areas in a city where there is a contrasting lack of light and others where is too much light, an exposure of light not needed. Therefore, a focus is needed on how to better control the light. The light must be used in a more efficient way, or more “energy saving”. “With little illumination, we can reasonably get away with without compromise to fulfilling to our basic needs”, this it is appropriate to appeal to the use of a smart lighting design, where lights can be dimmed down when no traffic or people are passing by”. (Major, 2020) Controlled. “Light should be used only when it is useful. Use controls such as timers or motion detectors to ensure that light is available when it is needed, dimmed when possible, and turned off when not needed.”

Controlled lighting is smart lighting that is capable of adapting to situations through programming or connected sensors. Controlled lighting can be interactive but also practical when connected to a network of information, receptors and other mediums that are capable of creating an output. “(…) street lighting that is programmed (…) Such systems go beyond the generic provision of illumination, enabling entertainment, stimulating economic and social activity, and generating vital and vibrant urban environments.”

(Arup,2015) Smart lighting moves the classical perception of lighting over into an interactive experience that engages and questions its users. It also has the ability to save energy by fulfilling its task only when needed.

Colour. “Use warmer colour lights where possible. Limit the amount of shorter wavelength (blue-violet) light to the least amount needed. Light where you need it, when you need it, in the amount needed, and no more.”

According to the International Dark-Sky Association, there should be a global reduction in blue light emissions to help raise the living conditions of people in and outside of urban areas and to preserve everyone´s right to a dark sky. In a world where illuminated media is dominant, lit signs that are used for presenting different commercials are “reaching new levels of excess”; people try to avoid having these types of lights in their homes, gardens etc. “High levels of light spilling in through windows can negatively impact our sleep patterns.”. In addition, it becomes highly important to live in a neighbourhood that has as few media facades as possible or having a relaxing night walk in an area where there is not such a high amount of eye disturbing light exposure. Therefore, the amounts of light and colours used should be re-evaluated in order to support a better “visual dynamism” of a space, especially if it is a residential or historical place. (Major, 2020) 52

4.2.3. Interactive lighting Light can interact with a public space on several levels. It has a practical use of navigating in the space and to create the environment of a safe and secure environment. The light is capable of setting a mood, it can manipulate and interact with the public domain and its users. A simple example is the streetlight at a bus stop, a solitary lamp solving a simple purpose, it illuminates the area, gives a sense of security and helps the approaching bus to see if anyone is waiting. At Kennedy Square in Aalborg (Figure4.5, picture 1) the simple streetlight changes character by connecting the streetlight to a network of computers and sensors. The city square becomes interactive and follows the movement of the users. The people at the square do not sense the interactivity as much as the people observing them from a distance. The light turns on and off through the sensors and help people navigate. The light intensity turns down when there is low activity and intensifies when sensors register the movement of by-passers. The users get the full experience of a comfortably lit square but do not notice the squares’ ability to save power when it is not needed and how it meets a concept as light pollution. (Poulsen, 2012) Another effect of the square in Aalborg is the changing lights as an installation that sends waves of light over the site to give it a calm feeling and identity. In this case, it acts more like an installation and not just for pragmatic reasons. “The hypothesis was to make a playful illumination that engaged people in playful and creative situations”. The hypothesis of the square was to make an engaging environment by interactive lighting that has the ability to bring people together. By observing the users, several people noticed the changing lights and started to engage with them. People in transit also noticed, however, their purpose did not encourage them to engage as much”. (Poulsen,2012) The power of light is acting as a medium for people to meet, from a candlelight to the modern interactive cityscape with integrated parametric lighting. Lighting has always been a constant for people to interact. “The smartest public lighting that I have seen facilitates and enhances social and cultural activity (…) is kindled by a network of living people” (Streatfield, 2020)

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Through the choreography and light, unforeseen meetings and interactions emerge between people. Since light can influence and even set the overall mood, people can step out of their comfort zone and start interacting with each other. “Public interaction is not mandatory and does not have to be forced, (…) it can turn the view of public interaction in social spaces to something more positive and encouraging for the people.” (Antic, 2019) Communication strategies of interactive lighting can follow a certain set of rules, both within the intentional and the unintentional realm. “What I consider the basic area of research in interactive art are the strategies organizing fields of activity for the receivers-participants.” (Kluszczynski,2010) When communicating with something as abstract as light, it leaves room for different interpretations by its different users.

The intention of setting a mood will be perceived by the majority, how53

Figure 4.5 1. Kennedy Square Aalborg (AAU). 2. The Musicon Path Roskilde (Light Bureau).

3. Interference, Kolding (Kollision)

ever, a miscommunication can exclude some of the users as well. Therefore, there must be clear communication to the majority when using light as a communicator.

What can be seen as good examples of a playful integration of smart lighting combined with the shape of the landscape or an urban environment encourages the user to interact and to encourage meetings between people.

In the project The Musicon Path by Light Bureau, the path is an interactive bike lane that illuminates the surface when people ride through the course (figure 4.5, picture 2). Through an installation of sensors and dynamic lighting, it tracks movement and illuminates a tail according to the bicyclist speed. Along the path are light poles with controlled LED lights oriented towards the surface. Smart lighting plays an important role and encourages the users to see who can create the longest tale when riding along the path. Thereby also encourages competition and have an active lifestyle. The area becomes alive through the activities and the trails of light that the users leave behind. The curvy nature of the bicycle path combined with the light creates a wave-like effect that runs through the landscape.

In the project Interference by Kollision, as pedestrians and bicycles approach the tunnel, sensors register and illuminate the path in front of them and follow them through to the other side (figure 4.5, picture 3). When encountering other users crossing their path in the tunnel, the light intensifies and creates an interaction between the visitors. The tunnel registers the speed and assigns colours according to the movement. Combining these interactions makes up an almost fluid motion that gives the place its identity. The position of the integrated luminaire panels on the side of the tunnel creates a playful, lively and inviting space. The horizontal movement of the light follows the linear orientation of the space and transforms the perception to something positive and playful instead of the unattractive image of a concrete tunnel.

With the help of an interactive solution, the character of the space can change and create an attraction to the public in an area that normally has a more passive character. When the participants step into the interaction, they become a part of it whether it is willingly or unwillingly. The space becomes alive through the narration of the artist but as soon as people walk into the scene, they become part of the play and the whole picture becomes complete. The featured projects work with the notion of a respectful approach to its surroundings, in this way they stand as inspirational examples of how to integrate interactive lighting design with a sustainable solution.

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4.3. Design Concept

4.3.1. Trip to Langeliniekajen The concept design will be explained following the method that Ulrike Brandi used in his book Light for Cities, where the reader follows a fictional lighting designer who goes through different urban spaces. (Brandi & Geissmar-Brandi, 2006). Brandi mixes drawings with short descriptions.

It is asked to the reader to put in the shoes of a lighting designer that visits Langeliniekajen, arriving in the evening, after having visited The Little Mermaid and having walked through Langelinieparken: 54

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04 DESIGN PROPOSAL

Figure 4.6 View from the first stretch of the raised path

You come from a quite dark area, a bit difficult to navigate for, only lighted with short street light poles. The bushes on the sides of the path disappear and, in the end, something calls your attention: the diffuse and non-uniform light of the poles is replaced by two lines of coloured light at your eyes’ height. The slope of the path goes up and you find yourself in a linear way that seems to have no end (Figure 4.6).

Suddenly, you discover that the colour of the light is changing. When you move, the light follows your steps. You start playing: the slower you move, the slower it changes. You start running and you cannot escape from the light, it runs with you.

The colours are also moving in the distance, you understand that someone else is there. You do not feel alone.

Thanks to the speed of the changes, you even know if they are walking or running. A bike passes next to you and the light blinks like a flash and comes back to its original colour. The grid of the fences catches the light and when you look as far as you can, you cannot see the ground, but you can distinguish the coloured light on the vertical planes.

When you keep walking you discover that you can see the stars and the lights of Refshaleøen island in the distance and you identify CopenHill. You can also see the windows of the buildings shining next to the path. There is no more lighting than the one you need. You realise that you are at the top of a building, the cars move below but they do not disturb you.

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Figure 4.7 View of the raised path with the glass boxes

You continue your way, and the short fence of your left is replaced by a taller one, the coloured light emphasizes the waves of its texture. Some bright boxes emerge in the distance. When you approach, you discover a couple of translucent boxes that contain some stairs and an elevator. The dim warm light they have inside is scattered by the frosted glass film on them (Figure 4.7).

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Figure 4.8 View of the path with the alignment of trees in the middle

You leave behind the lightboxes and the light of the fences continues with you, sometimes the slope goes up and down. The dark blue sea at your right fuses together with the sky. A strip of green grass and a row of trees appear in the middle of the path. The light issues from the grass, from some small uplights, mould the trunks and is caught by the crowns, giving volume to the trees (Figure 4.8).

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Figure 4.9 View of the path with people interacting

You catch up with an elder couple walking by and your lights mix for a moment. There is also a group eating ice cream, some people biking, others walking with their dog. Everyone paints the path and leave a trail of light, so it looks very different than when you were almost alone (Figure 4.9).

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Figure 4.10 View of the parking lot with the lighthouse at the end

The slope of the path goes down, and you see a parking lot in front of you, it seems the end of the path. However, you distinguish a neon sign and a smoothly blinking light at the bottom. The parking lot is illuminated by some spotlights on poles, generating accents of light on the asphalt. They do not produce glare and you can still look at the dark sky however, they do not feel uncomfortable, you can still stare at the dark sky. A man gets out of the car and takes out a fishing rod of the boot. Some short bollards lighted up the sidewalk and you follow the succession of spots (Figure 4.10).

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Figure 4.11 View of the small lighthouse with the bench around it

You reach a kiosk with the neon sign on its top. Time for an ice cream? Not now. You continue until the very end of the quay, attracted by the blinking light that fades out very slowly in the middle of the darkness. It belongs to a small lighthouse with a circular bench around it. After this long stroll, a diffuse warm light of a LED strip under the bench invites you to sit down. You spend some minutes sat down there, resting, listening to the sound of the sea and observing the fishermen (Figure 4.11).

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Figure 4.12 View of the road and the stone wall

After this short break, it is time to come back home. You decide to take the lower road instead of the raised path again. You walk next to a stone wall that looks old; a line of recessed wall washers highlights its texture with a gradient from the bottom to the top. The sidewalk is not illuminated directly, only with the light bounced off the wall, but it is enough to see and recognise the people that cross path with you. At your left, some cars pass slowly by the road that is lighted up by bollards that remember the ones used in residential areas. They target its light to the pavement, generating a fairly uniform spot. Behind them, there is a tall fence that closes a private zone for the tourists’ disembarkation.

The lights of the city glimpse in the back (Figure 4.12).

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Figure 4.13 View of the road and the building with stores

The stone wall transforms into a building with stores and cafés already closed. The stone is still illuminated by the wall washers but now the darkness of doors and windows interrupts the uniform lighting. The building has a crown of coloured light that continuously moves due to the movements of people above you. You feel curious, wondering if you should get back to the raised path. The building is a bit elevated with a podium, so you receive less lighting bounced off the wall, but some luminaires integrated into the low windows light up softly the sidewalk. (Figure 4.13).

You keep walking until the Langeliniekaj finishes. You feel relaxed and ready for returning to the city, thinking that you will come back with some friends.

This can even be your new running route.

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4.3.2. Design guidelines As it has been seen in the design concept, some guidelines linked with the project criteria and the previous research have been followed: •• To integrate all the lighting fixtures as much as possible to make them unnoticeable.

•• To enhance the legibility and hierarchy of the place. The lighting is composed of different linear layers parallels to the waterfront.

•• To highlight the architecture, landscape and rhythms of the place.

•• To avoid the lighting coming from above people’s heads whenever possible, limiting the use of poles or high mounting fixtures when no other solution is feasible. The goal is to keep the vision of the sky and distant views as “clean” and glare-free as possible.

•• To generate a dark atmosphere, using only the necessary light and targeted to some chosen surfaces. When the light is diffuse or does not point towards the ground, it should be dim and with a purpose.

Moreover, all the luminaires should be controllable to adjust the flux depending on the time of the day.

•• To use warm light with a CCT 3000K except for the raised path, where the Masterplan does not specify requirements. The use of colour for the fence will be discussed in the following chapter since the use of blue light disagrees with one of the Dark Sky Association’s principles.

•• To improve the safety of the pedestrians through two strategies: decreasing the speed of the vehicles with the use of light bollards, associated with slow traffic areas; and directing the pedestrians to the raised path.

•• To implement interactivity as a way of communication: oo Among people and between people and place, creating a playful experience. This results in a more sociable, active and attractive place. oo Among different points of view and levels: the raised path, the lower road, the panorama from the sea or the top view from the cruise ships. oo Generating a feeling of belonging to the site, through a placemaking experience. People’s actions and flows build the final image of Langeliniekajen, which is never the same.

4.3.3. Interactive fence

Interactive systems provide communication through an exchange of messages between human and computers. The whole process from the human senses to the light output is explained in the diagram Fig. 4.15.

The specification of the luminaire to light up the fences and path will be discussed in the following chapter, as well as the choice between the use of colour (RGB) or white light (CCT). However, it can be anticipated that it was

Figure 4.14 Illustration showing the change of CCT according to people’s movements

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decided to work with a variation of white light (Figure 4.14). Therefore, the luminaires should be Tunable White (TW). Tunable White technology provides a range of CCT through the flux adjustment of two LEDs for each luminaire (or each dot for a LED strip), one cool LED and another warm.

For instance, if it uses LED TW 2700K - 6500K, it will be possible to obtain all the CCT values within that range. Depending on the manufacturer’s technology the adjustment will be more or less accurate.

Regarding the motion sensor, the most suitable type depends on the application. The advantages and disadvantages of each type can be found in the AAU Master Thesis Liquid Light (Norstedt, 2017). Taking as a reference the project Infinity Bridge by Speirs + Major, it was decided to use a radar sensor to detect the motion (Donoff, 2011). “Radar sensors are conversion devices that transform microwave echo signals into electrical signals. They use wireless sensing technology to detect motion by figuring out the object’s position, shape, motion characteristics, and motion trajectory. Unlike other sensors, radar sensors aren’t affected by light and darkness […] When compared to other sensor technology, like ultrasound, radar can sense longer distances and is safe for people and animals.” (Atwell, 2021).

For the control, it is used DMX-512 protocol. This protocol is unidirectional, the data can be only sent from the sensors to the controller and from the controller to the lighting fixtures, no information can be returned.

Hence, its main disadvantage is that cannot include automatic error checking. (Focal, 2011).

For this specific project, the speed since the movement is detected until the light changes is a key aspect. The speed of DMX-512 is one of its advantages over other protocols as DALI-2. Moreover, it is commonly used for outdoor architectural lighting, so it is easier to find luminaires in the market ready for this language. The network can have cabling runs until 1.2km, but to ensure a reliable operation the maximum distance is usually limited to 300-450m (Focal, 2011). Even if the installation should be divided into 73

Figure 4.15 Diagram depicting the human - computer interactive process

smaller sections to reduce the response time, this is a big advantage in a long place as Langeliniekajen.

A DMX-512 universe cannot have more than 512 channels and 32 devices per universe (Focal, 2011). To be controlled individually, each TW luminaire will occupy two channels (to dim both LEDs). Every LED will get values from 0 to 255 to control its flux (from 0% to 100%). The luminaires can be connected in series, so various share the same driver and power supply.

Each of these groups will be considered as one single device. Furthermore, the channels for the sensors should be also taken into account.

There are also several options for the main controller. For instance, the project Interference (Kollision) in the city of Kolding uses a RaspberryPi as the central micro-computer and Processing for the programming (Kollision, 2014). However, a more similar project to the dimensions of the one developed here, The Musicon Path (Light Bureau) in Roskilde uses a Mosaic Show Controller and the associated software Mosaic Designer 2 (Norstedt, 2017).

This is just an overview of the whole lighting system for the interactive fence, its details are complex and would require deeper research. In the following step, some aspects of the proposal will be evaluated to complete the design.

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5.1. Tests The following section will touch upon the variety of test performed to try out the design, these tests are divided into two categories “Virtual tests”, and “Lab test”. The first ones are more directed to the placement of the different luminaries in each zone and get accurate data about if each one of the solutions provides the right amount of illumination required. The possibility of using coloured light or white light for the fence will be also discussed. The second is about the intentions of the design to communicate and connect the user and space through the light. Since the project counts with different areas and the time to develop them is limited, it was decided to focus on the solutions for the road and the raised path, with special attention to the interactive fence.

5.1.1. Evaluation: color vs. tunable white

Since the ideation of the design, there were two different options: colour light or variations of white light (Fig 5.1 and 5.2). In the colour concept, after testing different colours, the intention was to apply blue light for the passive light, while using amber light for the active light where the person is passing through. On the other hand, with the white light option, was intended to apply different correlated colour temperatures for active and passive light. The following are the pros and cons found for each option.

05 DESIGN EVALUATION

Figure 5.1 Proposal with blue and amber light

Figure 5.2 Proposal with blue and amber light

Option 1. Colour variation blue – amber On the Copenhagen Lighting Masterplan’s, it is mentioned that colour light can be experimental and innovative, and it can be experienced as fun and positive. However, some people describe colour light as a gimmick more than as “real light”. On the positive side, the playful character of colour light can give a playful and distinguishable character to Langelinieka78

jen, which could attack more visitors to the site. At the same time, colour light makes the variation more recognisable, improving communication.

Conversely, blue colour light can disrupt the circadian rhythm of visitors and ecosystems and contradicts the Five Principles proposed by the DarkSky Association. Also, blue colour light has an extremely low CRI, which could create a confusing atmosphere and worsen the face recognition, and, since the colour variation, the illuminance could be perceived as having a high contrast, not improving the current situation.

Option 2. Correlated Colour Temperature Variation

Regarding the use of only white light, it is possible to mention positive aspects. The atmosphere created could be more natural and elegant, projecting a softer effect at the site. Also, using a variation of CCT will follow the Dark-Sky Association recommendations, while it improves face recognition, and the illuminance will be perceived as more uniform. However, the variation of CCT could not be as recognisable as colour light, for this reason, those values should be tested and specified. If people cannot perceive the CCT variation, communication will not be possible. In addition, in a view from the quay to the raised path, the fence and its light variation could merge with the stone façade.

After considering the pros and cons for both options, the decision taken was to use only white light with different CCT, following the criteria established about the use of the Dark-Sky Association recommendations, face recognition will be improved and the illuminance levels will be perceived as more uniform, addressing the problem about the sense of insecurity.

5.1.2. Virtual test: fence specification and layout

The fence is the only vertical element found in the raised park; therefore, the design is centred around this element. One of the biggest considerations was the user point of view: front view (longitudinal section) meaning that is all about the perception of the viewer in the space while is moving, giving scale and creating a boundary. The second point of view is the side view (cross-section), this plays a role when the viewer is resting/

Figure 5.3 Perspective sketch with the views to consider

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Figure 5.4 Sketches with the views to consider

contemplating the surroundings. The main goal when this one comes into play is to make the light of the railings disappear allowing the user to perceive the darkness and the surroundings. (Fig. 5.3 and 5.4) The following virtual tests were implemented using different photometries (real IES files from manufacturers) and with different distances.

Since it is a historical fence made of steel, the luminaires cannot be integrated into the handrail. Therefore, they are placed in the upper frame of the grill.

Figure 5.5 Product and Dialux calculations (illuminances) for option A

Option A. LED strip with assymetric optics In the horizontal plane, this light solution gives uniformity to the space in both axis (length and width) of the raised path, but at the same time there is a brightly lit area close to the edges, this creates a sharper transition between light and darkness in the middle of the path.

The E max gets to 100lx (nearest to the fence) and gets the E min gets to 4lx (by the middle where the green area and the path meet). This solution is characterized by being the one that gets the most illuminance in the path.

As for the vertical plane, the light makes the textures in this plane stand out. This beneficial for the project since the light reflected in the fence is al80

Figure 5.6 Product and Dialux calculations (illuminances) for option B

Option B. LED modules with asymmetric and extensive optic This solution gets a more homogeneous illumination in the horizontal plane, the transition between light and dark is much more subtle. Even concerning the darkness in the green area, this could be an advantage for the project since in this way the placement of dim up lights for the trees can stand out.

The illuminance is the following: the E max gets to 20lx (nearest to the fence) and gets the E min gets to 3lx (by the middle where the green area and the path meet). As for the vertical plane, the light is perceivable in the longitudinal axis but not in the cross axis on the downside is not beneficial to the communication with the surroundings. (Fig 5.6)

Figure 5.7 Product and Dialux calculations (illuminances) for option C

Option C. Spotlights with asymmetric optic, two in between each baluster As in the preview solution, the central area of the path is almost completely dark. The major difference is that the light fades away rapidly from bright to dark. This is reflected in the next values: E max gets to 150lx (near81

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lowing the change in the light to be more perceptible from the street level.

The LED strip could be dimmed down later. (Fig 5.5)

est to the fence) and the E min gets to 0.5lx (by the middle where the green area and the path meet). This solution works very well in the horizontal plane since only highlights the useful and needed area. As for the vertical plane, the light does get reflected in the texture of the fence (not as much as in option A) but the light is perceivable in a much subtle way. This happens especially with the perspective that it acquires while you are walking when the distance between spotlights gets shorter. (Fig 5.7)

Figure 5.8 Product and Dialux calculations (illuminances) for option D

Option D. Spotlights with asymmetric optic, one in between each baluster

05 DESIGN EVALUATION

As noticed in the previews test the light has more homogeneous in the horizontal plane but to lower the electrical consumption fewer spotlights were used, as a result, this created brightly lit light spots. As for the light levels the E max gets to 200lx (nearest to the fence) and the E min gets to 1lx (by the middle where the green area and the path meet). The succession of accents on the ground would be an interesting choice but, sadly, this solution does not get enough light to enhance the texture materials of the vertical planes; as a consequence, is not perceivable from the street level. (Fig 5.8)

Figure 5.9 Product and Dialux calculations (illuminances) for option D

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The last test performed in the fence was developed with the same idea as the previews with the characteristic of placing the spotlight in line with the balusters to work with the field of view of the user in the longitudinal axis while enhancing the architectural elements. The idea has good intentions, but it compromises the design since both fences are different, giving as a result of a not well-balanced distribution of the light, meanwhile creating a not very pleasing drawing in the horizontal plane; having light levels of E max of 200lx (nearest to the fence) and E min to 0.3lx (by the middle where the green area and the path meet). This solution is not perceivable in the vertical plane from the surrounding areas. (Fig 5.9) After this analysis, itwas decided to implement option C, two spotlights in between eachbaluster. Although the grill of the fence catches more light with option A,considering other aspects like the energy efficiency and the costs, it wasunderstood that option C was more suitable. Moreover, the sequence of spotlightscreate an interesting effect, since it is not disturbing when the fence islooked from the front but the light gets density when it is seen withperspective while you are walking.

5.1.3. Virtual test: light levels and distribution

To combine the qualitative with the quantitative design, it was necessary to try out the specific light fixtures that could supply the illumination needed to successfully reach the lighting requirements and the desired atmosphere.

This was possible by analyzing the current situation and collecting the right data, by creating a 3D model of some portions of the quay in Revit and SolidWorks for later export the model to DIALux. Here a variety of simulations were run. Different luminaires were tried for each of one of elements in each zone, considering the perception of the light in the horizontal and vertical plane, the aperture, photometry, uniformity, luminance/illuminance as well as the intensity of the light so it could be possible to analyze the interaction of each element in a holistic way. The results are presented in the Figure 5.10. The final specifications will be presented at the end of this chapter.

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Option E. Spotlights with asymmetric on each side the balusters

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Figure 5.10 Dialux calculations (illuminances) with the luminaires dimmed down

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5.1.4. Lab test: Colour Discrimination The correlated colour temperature of white light is determined by the X and Y values on the CIE chromaticity diagram, representing the colours produced by a black body as its temperature changes. To improve communication and create a lively space at Langeliniekaj, light sources with different correlated colour temperature will be used. The question that arises from this is about the minimum difference of colour between two similar light sources to be noticeable by human vision. Having this in mind, a first hypothesis for the experiment was formulated as follows “If there is a variation of more than 30k in the range of 3000k, then people will perceive the variation under mesopic vision conditions.” The value of 3000K was used since is the value recommended in the Copenhagen Lighting Masterplan, and the 30K variation step corresponds to 1-step MacAdam. To evaluate this the test was conducted in a controlled environment where it was possible to measure all the aspects and get more accurate results. During the exploration on the performance of the experiment a second hypothesis was formulated attempting to evaluate the influence of the gap effect “If colour samples are presented adjacent, then a smaller colour variation will be noticeable compared when colours are presented nonadjacent.” To answer these hypotheses the experiment was divided into two steps, each one of them will show the same colour samples, in a different configuration which will be explained more in-depth during the next section.

05 DESIGN EVALUATION

Preparation for the test

Colour samples. A range from 2700K to 3510K in the scale of correlated colour temperature was presented to the participants, in steps of 30 Kelvin degrees. In order to reproduce these correlated colour temperatures on a TV screen, it was necessary to translate the values presented in the CIE 1931 colour space in coordinates XYZ. The XYZ values of the coordinates for the CCT values selected were converted to sRGB values (Charity, 2021). The RGB values were reproduced on Adobe Photoshop 2021 in files of 1,280 by 720 pixels, respecting the size of the TV screen intended to be used. The colours were created using a two-dimensional colour space, keeping the same value for brightness for all of them. The mentioned TV screen used was brand Sony model KDL32W600D, with a size of 73 by 44 cm. The luminance of the screen was measured with a Konica Minolta luminance meter model LS-150. The recorded date indicates a value of 95 cd/m2 with a deviation of +/- 5 cd/m2. Fifty different colours were created, and then displayed on the TV screen, where they were measured with a spectrometer brand GL Optic model GL Spectis 1.0 Touch +Flicker, positioned on a tripod at 1.8 meters from the screen. Thirty colours were selected and labelled with the closest value on the 30 Kelvin degrees scale mentioned. The label assigned corresponded to the closest figure in the scale compared with the value measured, taking 30K as a reference according to MacAdam steps definition.

Field of view. The visual field of the human eye spams 120 degrees of arc.

However, most of that arc is peripheral vision. The human eye has much better resolution in the macula, where there is a higher density of cone cells. This spans about 5 degrees arc which is wide enough to allow a clear view (Ball et al., 1988). The TV screen on the experiment is inside that range of view assuring optimal visual span (Figure 5.11). To calculate the distance of 1.80 meters from the subject to the screen for best viewing; the display size and resolution were considered and used as a baseline the following webpage (Starico, 2021) from STARICO. By following this guideline, the recommendation used was for “Visual acuity distance” which is cal86

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culated based on the reference resolving power of the eyes. Meaning that the human eye with 20/20 vision can detect or resolve details as small as 1/60th of a degree of arc. This distance represents the point beyond which some details in the picture are no longer able to be resolved, so pixels begin to blend. Closer to the screen than this may result in the need for a higher resolution display. This value should be lowered if visual acuity is worse than 20/20, raised if visual acuity is better.

Figure 5.11 Section of the room and field of view

Method Participants. The test participants for steps 1 and 2 were group members and colleagues from Aalborg University Copenhagen, students at the MSc in Lighting Design, and external participant. Eight individuals participated in the test consisting of 3 males and 5 females. All participants were aged 23–30 years. Participants were from different nationalities, living in Denmark. A pilot test was conducted the previous week of the test, consisting of 3 group members as participants. The participants were asked about their age, gender, visual problems, and a colour blindness test was taken before they participated in the test.

Location. The test was conducted in a 16 square meters room (Figure 5.12), which had 3 windows that faced southwest, blocked out to prevent the daylight from coming through to keep the light levels of the room uniform, creating a controlled environment. The purpose of this is to maintain the room dark enough to make the only source of light the one produced by the screen, allowing participants to use mesopic vision. The wall where the TV screen was located on a yellow wall, with a reflectance of 37%. A luminance meter with the brand Konica Minolta model LS-150 was used to record luminance levels in the areas of interest.

Procedure Before the test, the subjects were asked to take the “Ishihara test” for colour blindness by Colorite (Colorlite Ltd., 2021), the results were recorded. During the test, each of the subjects entered the room previously described and sat on a chair. At his point, the subject was not asked to do 87

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Figure 5.12 Axonometry of the room with the position of the subject

anything but wait in the darkness for 15 minutes for visual adaptation to the low light levels. Once the dark adaptation procedure was completed, the subject was asked to stand facing the TV screen on a mark on the floor at exactly 1.80 meters in front of it to start the test. The test consisted of 2 steps, both with equal dynamic, except for the display of the images. In the first step, 30 different slides were presented. In each slide, there were two rectangles parallel to each other with the measurement 35 cm by 15 cm, with a separation of 5 cm, on a black (RGB 0, 0, 0) background. The colour value of the right-side rectangle was fixed to the value of CCT 3000K (RGB 255, 168, 85) constantly throughout the test. The left-side square changed randomly its CCT value on higher and lower figures, between fixed values (Figure 5.13, picture 1). Three slides presented 3000K in both rectangles.

The data collected from the participants consisted of two spreadsheets, one for each of the steps, containing the answers from the participants in a table.

Each slide was visible to the subject for 2 seconds and between slides, the black background was visible for 5 seconds to avoid comparison with the previous slide. The subject was asked to rank the colour discrimination according to 1. Same colour: no perception on the variation, 2. Little difference: slightly variation, 3. Big difference: very noticeable variation. (Figure 5.14) For the second step, the same procedure previously described was used, varying the images presented. The slides consisted of a black background containing a square of 35 cm by 35 cm, presenting 5 horizontal sections,

Figure 5.13 1. Example slide step 1 (3000K - 3420K) 2. Example slide test 2 (3000K-2730K)

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Figure 5.14 Test being performed

three of them displaying the RGB value equivalent to 3000K, and two with a varying RGB. The sections were touching each other, to identify if the colour discrimination differs when the colours are adjacent. (Figure 5.13, picture 2)

Results

The graph (Figure 5.15) represents the results of the test. The X-axis stands for the correlated colour temperature expressed in Kelvin degrees.

The Y-axis shows the most common answer (mode) from the participants represented by points given to each answer: 1. Same Colour: no perception on the variation, 2. Little difference: slightly variation, 3. Big difference: very noticeable variation.

In Step 1, participants were shown the same colour representing the correlated colour temperature of 3000K in both rectangles, 2 participants expressed there was a slight variation between both rectangles (answer 2). The rest of the participants identified correctly that there was the same colour (answer 1).

When the slides of 3030K and 3060K appeared, all subjects perceived the same colour temperature as the 3000K rectangle. Starting from 3090K onwards, subjects started perceiving a little difference, with 3 subjects claiming not to see any difference. From 3150 K to 3270 K only three participants noticed no difference, the rest of the subjects noticed a little difference. From 3330 K to 3510 K most participants noticed a big difference between the colour temperatures. As the Kelvin was decreased, the subjects increased notice of a difference.

At values of 2970 K and 2940 K, subjects mentioned they did not notice any variation in the colour, where they were shown warmer values with a range of 60K from 3000K. From 2910 K to 2830K, six subjects mentioned there is a slight difference, while from 2790 K to 2700 K, all participants noticed there is a high difference in colour temperatures.

In Step 2 the subjects were shown mixed colours, with only one subject mentioning that there was a slight difference between two colour temperatures with the same value of 3000 K. At 3030 K only 2 subjects perceived a little difference, however, at 3060 K, half of the subjects started to notice a change. From 3090 K to 3180 K the subjects noticed a small difference among colour temperatures, whereas from 3210 K to 3510K, subjects could notice a big difference.

As the colours changed to warmer temperatures, the subjects noticed changes between the colour temperatures with smaller variations in cor89

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Figure 5.15 Graph representing the comparison of the results of the first and second steps of the test

related colour temperatures. At values of 2970 K and 2940 K, half of the subjects answered they perceived a little difference between colours. From 2910K to 2820K, most subjects identified a little difference between colours; increasing up to 2700K when all the subjects perceived the difference in colours as a big difference.

Comparing the two charts from Step 1 and Step 2, the most common answers differ slightly at each point on the correlated colour temperature graphs.

At 2700K most subjects were able to see a big variation, while from 2820 K to 2910K, on both steps, the participants perceived a slight difference. In the second step, participants continued perceiving the small difference until 2970K. From 3000K to 3030K most subjects answered with values close to 1 (No variation), especially at 2970K for Step 2 and at 3030K to 3060K for Step 1.

The graph differs slightly after 3000K, with Step 2 registering higher values than Step 1 in all correlated colour temperature values until 3420K. Only at 3390K, there is a higher perception in the variation for the Step 1 process. In conclusion, considering the Step 2 part of the experiment, the subjects identified the changes in colours with a smaller change in correlated colour temperature compared with Step 1. Step 1 registered higher values than Step 2 for lower K, at 2790K and 2910K.

Conclusion and Discussion

The data shows that to perceive the difference between two different correlated colour temperatures, the value of that difference needs to be 90

higher than 30 Kelvin degrees when colours are presented nonadjacent.

Thus, the hypothesis “if there is a variation of more than 30K in the range of 3000K, then people will perceive the variation under mesopic vision conditions” was refuted. A difference of more than 90 Kelvin degrees was necessary, both for warmer and cooler correlated colour temperatures, starting from 3000K. In the case where the colours were presented adjacent, a difference of 30K for warmer correlated colour temperature and a variation of 60K was necessary for participants to perceive the variation. In this case, the hypothesis “if colour samples are presented adjacent, then a smaller colour variation will be noticeable compared when colours are presented nonadjacent” was partially corroborated.

The participant group for the test was homogeneous in age, including participants from 23 to 30 years of age. In addition, all participants but one was Lighting Design students, which according to Brown’s findings, people can experience a learning effect after being exposed to the same stimuli recurrently (Narendran et al., 2000). In consequence, the results could have to vary incorporating people with older age with different visual capabilities and with diverse backgrounds.

The effect produced by the colour interaction between the yellow wall where the TV screen was located was not considered. Due to the characteristics of a TV screen, absolute black was not possible for the surroundings of the colour samples, since a brightness of 0.036 cd/m2 was measured. In addition, the variation of the brightness during the transition of the slides produced a flash effect on the participants which could have altered their perception. Another effect mentioned by the participants was the presence of an afterimage on the slides for the second step, caused by the lines pre91

sented in the slides. One of the participants claimed to perceive a slight variation in colour when the slide displayed only presented 3000K on correlated colour temperature, for that is possible to infer that other participant could have also been influenced by the afterimage effect.

Correlated colour temperature expressed in Kelvin degrees is intended for an ideal black-body radiator, so the measurements taken on a TV screen whose spectral distribution differs from a black-body radiator cannot be considered absolute, since different spectral distributions can be perceived differently by the human eye.

The perception of the colour variation differs according to the light source and the surfaces where the light is reflected. Thus, the results collected on the test could vary in an application outside a laboratory with different conditions.

Variables such as the retinal illuminance, the temporal presentation, the retinal location, the temporal and spatial contrast sensitivity, the surroundings, and the gap effect were not evaluated in their influence. Thus, changing some values in these variables, for instance, the time of exposition for each slide, could have led to different results.

Future Works

The test demonstrated the potential for reaching an answer about the correlated colour temperature values necessary to be applied in a project when the intention is that people can see the difference between them.

Future tests could be carried out, addressing the problems found in the presented test. The participant group should be larger, incorporating people from different ages and backgrounds, to avoid a bias in the answers.

The influence of the spectral distribution should be considered, testing the perception in different light sources with different spectral distributions, keeping the same values for correlated colour temperature. In addition, a similar test could be executed outside a controlled environment, in the space where the project is meant to be applied.

05 DESIGN EVALUATION

Translation to the project

Returning to the main goal of the presented test, it is necessary to clarify the correlated colour temperature values selected, that can be perceived as a variation by people. After analysing the results, it was decided to use 2970K for the passive light, which means the light used when the sensors do not detect movement and 3000K for the active light. The value of 3000K was picked since is the value recommended in the Copenhagen Lighting Masterplan’s for roads, and because this type of path is not specified, this value was used to avoid adding more visual information to the site. The value of 2970K was selected for passive light because it was the threshold where participants claimed they were able to perceive a very noticeable variation in colour (Answer #3). Additionally, being this value the warmest used, light pollution will be further reduced when nobody is on the site.

More information about the test and its result can be found in the paper submitted forthe course Evidence-Based Lighting, in the following link: https://drive.google.com/file/d/1Sg5x_9VJuPkyeWDZq0AxEzNVsXF4T2OK/view?usp=sharing

5.2. Final proposal specifications

The final specificationsas well as the dimmed values for the raised path, the façade and the road areshown on the following page (Figure 5.16).

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Figure 5.16 Floor plan and data of the luminaires

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Figure 5.17 Perspective cross section showing the integration of the luminaires

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DISCUSSION AND CONCLUSION

05 DISCUSSION AND CONCLUSION

6.1. Discussion The purpose of this section is to discuss the limitations and aspects of the project that could have been conducted in a different manner and to what extent the research question was answered through the project. The discussion will be structured around the criteria presented in this report and to what extent the suggested solution meets the criteria. Since the characteristics of this academic project, which is not intended to be placed on the site in real life, it is not possible to give a conclusive answer to the question. In order to determine whether the premise of creating a lively space in the Langeliniekaj was achieved or not, it would be necessary to implement the lighting design proposed on the site. With the design implemented, it could be possible to carry out a new analysis and observations to determine if the affluence of people is increased and new activities start to take place on the site. Corroboration for this argument could be made using examples similar to the proposed design, nevertheless, it would still be an assumption, not comparable with implementation and analysis of the proposal.

Regarding the test performed in a controlled environment, it was possible to answer the hypothesis formulated and determine the CCT values necessary to complete the design and create communication in the space, since people will be able to perceive the variation between the different correlated colour temperatures. However, it could be needed to perform a new test, on-site or in a site with similar characteristics to Langeliniekajen, since some variables as the spectral distribution of the light sources and the reflectance of the materials can change the perception of users. Despite this fact, we can infer that the criterion “Interactive lighting for communication” was followed successfully. Additionally, a larger difference between CCT values could improve the communication, but being this an academic research-based project, it was understood it could be more valuable finding the minimum values where people can perceive the variation.

Concerning the second criterion “Integrated lighting for revealing the architecture”, it was met, since the luminaries chosen are integrated into the architecture and the elements present in the site. In the case of the bollards used for the street in the pier, even they are not properly integrated into the architecture, they present a low height and inconspicuous design to be the less noticeable possible. Furthermore, this contributes to meet the target number 11.4 from the UN (United Nations) Sustainable Development Goals about safeguarding the cultural heritage.

Respecting our criterion “Responsible outdoor lighting for preserving dark sky”, the five principles for Responsible Outdoor Lighting designed by the Dark-Sky Association were followed, but since they are qualitative and no quantitative guidelines, they cannot be measured to understand to what extent those principles were satisfied. In addition, some decisions were taken to achieve the target number 7.3 from the Sustainable Development Goals, regarding energy efficiency. However, the power consumption per hour (kWh) was not calculated. The information about the current light sources was scarce, therefore a comparison was not done either. However, due to some design decisions like the height of the luminaires, the targeted use of them and the low lighting levels; together with the technology used (LED) and the possibility of dimmed down depending on the time, can be inferred that the energy efficiency is high.

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How can light transform the Langeliniekaj into a lively space, enhancing communication through an interactive solution based on the movements of people, while it respects the existing architecture and dark sky?

The aim of this report was to give an answer to the quoted question. The main problem found at Langeliniekajen was the lack of necessary activities, the ones that are unavoidable for people to continue their normal life. This problem causes the situation “Nothing happens because nothing happens...”, where people do not go to the place because nobody is there and there are not attractions. To solve this, the concept adopted was to create a lively place, where a new feature in the site will attract a small amount of people, who will start visiting the place more often, generating new activities in the place. These new activities would at the same time attract more people that will create more activities. In this way, it could be possible to revert the current situation, creating the situation where “Something happens because something happens...”. The trigger for this new lively space is an interactive path, generating a communication between the people and the space, where the movement of people modifies the image of the site. Visitors would feel more engaged to the site, visiting it more often and staying longer there. This scenario is described hypothetically, since the implementation of the design in the site should be necessary to analyse the impact of it. Other aspects, based on the Copenhagen Lighting Masterplan focus areas have also been improved. Safety has been enhanced by removing the glary streetlight poles, and replacing them with low height bollards, which create a more uniform lighting and this way stabilizing the perception and reducing discomfort when driving at night. Security was also a topic that was addressed, by improving darkness and light distribution and lines of sight. Another focus area revised was sustainability, by reducing light pollution, that has the disadvantage of impairing the view of the night sky and produce an unnecessary waste of energy. Regarding the aim for an Active City, the design is inviting and interactive, supporting and encouraging an active lifestyle in dark hours. Finally, the focus for Mediating city was also focused on by highlighting architectural qualities and avoiding excessive illumination, promoting the local identity and understanding the context.

With the arguments previously mentioned, it is possible to conclude that the Langeliniekaj could be transformed into a lively place with the implementation of an interactive path, that allow people to transform the aspect of the site with their movements. Single movements of single individuals would build the new image of the place, a new identity constantly changing that would never be repeated again. The use on integrated luminaries would respect the architectural and historical value of the space, while the implementation of the Five Principles for Responsible Outdoor Lighting would preserve the dark sky.

6.2.1.Future Works

Recommendations can be given to improve the proposed design or for further confirmation for the findings on the laboratory test. In the case of the mentioned lab test, a new test with different characteristics could be necessary. The participants group should be more varied in terms of age and background, to avoid biased results and deviations product of the differences in visual capacities that come with different ages. Additionally, the 99

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05 DISCUSSION AND CONCLUSION

influence of light sources with different spectral distributions should be tested, and the effect of a variety of surfaces where the light bounces. Another aspect intended to be tested, which was not possible due to the lack of resources and equipment and should be evaluated, is the distance since that is a key factor for communication.

Another aspect of the project that should be further studied and specified, is the technical aspect for the design proposed for the areas that were considered secondary in the project, being those the parking lot, end of the quay and glass boxes. Regarding the main path, where the interactive design was applied, a feature that needs to be additionally defined is the pattern on the light variation. The speed of the transition, the movement and the effects that it would create in people’s perception need to be analysed and decided. To achieve this, a mock-up or a VR (Virtual Reality) simulation could be applied. Finally, to improve the sustainable approach of the project, the use of smart lighting that changes the intensity and, therefore, the energy consumption of the light installation depending on the time. This smart lighting feature could use the same motion sensors used for interactivity to dim the light in the whole area when any movement is detected after a certain established period.

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Figure 6.1 View from the raised path

Figure 6.1 View from the road

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6.3. Project overview

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The diagram can be found in high resolution scanning the QR code or in the following link: https://drive.google.com/file/d/19fCtwY3kHURI0pdW3ynV9IVoVtdBcMTe/view?usp=sharing

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