Close context: Gordon Cullen analysis

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.

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

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).

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).

Figure3.6 Langeliniekajen’s different scales

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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.

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