WINTER CITY LIGHTING - Aalborg Universitet · lighting design that will contribute to raise the...

WINTER CITY

LIGHTING A study of public lighting for active city life

during the dark hours of winter

Program: Ms Lighting DesignSemester: 4. semester

Title: Winter City Lighting Project Period: February - June 2016

Supervisor: Ellen Kathrine HansenSemester Coordinator: Georgios TriantafyllidisSecretary: Lisbeth Nykjær

Pages: 112Finished: 02.06.2016

Winter City Lighting A study of public lighting for active city life

during the dark hours of winter

Master Thesis

Lighting Design, Aalborg University

5

Introduction

Foreword

Readers Guide

Thesis Structure

Motivation

Initial Research

Problem Area

Problem Investigation

Problem Statement

Theory

Winter City Intro

Winter City Theory

Winter City Key Enablers

Analysis

State-of-the-Art Analysis

Success Criteria

Case Introduction

Case Site

Concept Development

Initial Concept Development

Concept Development

Final Concept

Conclusion

Conclusion

Bibliography

Appendix

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Table of Content1:

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7:

Introduction

1

Lighting Design

8

“[Students who complete the master will gain an] understanding of light as a holistic tool to create spaces with different purposes and different effects on human experience.”

Upon completing my master of science in lighting design - as first generation from Aalborg Uni-

versity Copenhagen - I have decided to dedicate this foreword to the new interdisciplinary field of

lighting design that will contribute to raise the benchmarks for the future planning, development

and research:

A rapidly growing body of research has demonstrated benefits of qualitative use of both artifi-

cial and natural light. The research has found positive effects on ecological, economical as well

as health related issues. In conjunction with new developed LED technology and corresponding

computer technology, complex possibilities of appliances and controlling emerged. Lighting has

become a valued asset for museums, hospitals, work places, public spaces, cultural event, archi-

tecture etc. The light has become intelligent.

With great variety and various different functions, the lighting profession stretches across multi-

ple fields of sciences and practices. The same can be said for the professional profile of a lighting

designer. The traditional profile, derived from architecture (daylight), electrical engineering or

theatrical lighting (Livingston 2014:4), has expanded to modern demands of a more holistic and

multidisciplinary approach - in accordance to international lighting standards.

In this master thesis project I have sought to demonstrate my skills in designing with light, by

synthesizing principles from the fields of architecture, design, science and media technology. By

balancing a methodical and creative approach to developing lighting design, I hope to achieve a

solution which is theoretically sound whilst still offering a poetic experience.

“First, design is as much a process of intellect [as it is] intuition.” (Livingston 2013:7)

Last but not least I would like to give a warm thanks to the diverse range of professionals who

have assisted me in this project. All of them have inspired me in my investigation and develop-

ment of Winter City Lighting principles: Ellen Kathrine Hansen, Architect, Supervisor; Ellen O’Gara,

MAA Architect, Platant; Jonas Kold, Project Leader, Kulturhavn365; Poul Erik Bjørnshauge, Di-

rector, Ingeniørforeningen; Marianne Tuxen, Lighting Designer, Tuxen Design; Mr Guido Parenzan

Industrial Designer, Catellani&Smith; Andreas Klarlund, City Planner.

Foreword

Curriculum for Ms Lighting Design p. 7

9

The primary objective of this thesis is to develop Winter City Lighting theory, which can be ap-

plied in all urban contexts matching Danish winter conditions. But as a practical limitation of this

thesis, I have taken a geographically impetus in Copenhagen. Partly because I am residing in Co-

penhagen and thereby experiencing the city on a daily basis. Partly because Copenhagen histori-

cally have been working with human centric urban planning since the 70s, and thus has extensive

documentation that will be used in the thesis.

The primary outcome of this thesis is, as mentioned, first and foremost to get a thorough insight

to the issues associated with winter urban life, and by adopting knowledge from other disciplines,

create new knowledge within the field of public lighting planning.

The secondary objective of this thesis is to test this knowledge in a case study. The concept de-

veloped in this case study, is therefore not an exhaustive design, but a draft that brings together

findings that have emerged through theory, research and analysis.

In chapter 6: Concept Development, a reference to a Youtube video is added as essential material

to support the understanding of the concept qualities (Nb. the A/V-production is also a part of

the study plans requirements). It is therefore recommended to be equipped with a screen monitor

with internet access during first reading.

This thesis examines the lightings potential to create a framework for ‘active use’. ‘Active use’

are terminological covering a broad understanding of movement: walk, run, jogging, dog walking,

cycling, use of the playground, use of outdoor training facilities, events, fishing, bathing etc.

Shortly put: activities that contributes to enhance the quality of life, provides fresh air and cre-

ates the opportunity of spontaneous meeting in the public space.

Readers Guide

10

The following brief description provides an overview of the thesis structure and content of the

individual chapters.

Copenhagen Lighting Masterplan

This chapter Introduces my previous work; Copenhagen Lighting Masterplan (CLM), partly as pri-

mary literature, but also as the occasion that led to the discovery of the thesis topic.

Problem Area

This chapter describes issues uncovered by a sociological survey for CLM: Unsafe and inactive

urban spaces due to inadequate lighting during the dark hours of the winter season. The survey

and its findings - concerning the thesis subject - is outlined.

The Social Survey is compared to a similar study from the City of Copenhagen with contradictory

findings.


This chapter examines the inconsistencies between the two studies from Light Masterplan and

the City of Copenhagen, including their methods and aims. The findings of the examination is the

part conclusion; a need for a more conscious process in order to incorporate the winter premises

for urban life.

Problem Statement

A brief description of the overall problematic, which leads to the thesis problem formulation.

Winter City Intro

This chapter gives a brief introduction to the urban development concept: Winter City and its

incipient arrival in the Danish urban planning.

Winter City Theory

This chapter continues my theoretical work with the concept of ‘Winter City’. The theoretical

foundation is particularly inspired by ‘Northern Cityscape’ by Norman Pressman. Thus, a basic

understanding of winter premises is provided.

Thesis Structure

11


In this chapter the previous theoretical work form the basis for developing ‘Key Enablers’ for ac-

commodating the winter premises - in order to facilitate outdoor activity during the dark hours

of winter.


This chapter investigates challenges and potentials of existing Winter City projects facilitating

lighting in a State-of-the-Art Analysis.

Success Criteria

This chapter derives a set of ‘Success Criteria’ from the previously carried out State-of-the-Art

Analysis.

Case Site

This chapter introduces the chosen site (and physical and social context) for testing processed

theory, research and analysis.


This chapter presents three concept ideas, using the Key Enablers as inspirational impetus.

Concept Development

In this chapter the chosen concept idea is investigated in terms of photonic and historical quali-

ties.

Final Concept Development

In this chapter the chosen concept idea is developed in terms of the aspects of: functionality,

aesthetics and digitization.

Conclusion

In this chapter the problem formulation is answered.

13

In this master thesis I will use public space in Copenhagen as case study. I have therefore chosen

to build upon the work that I have previously been involved in with regards to the lighting master

plan of Copenhagen. In the following chapter, I will outline the intentions and structure of the

master plan (part I and II):

The Danish goal of reducing CO2 emissions by 40% by 2020, inspired several municipalities to

revise and adjust their lighting systems to modern needs. During my work for the international

lighting consultancy Citelum in 2014, I finalized the Lighting Masterplan part II for the City of Co-

penhagen. An ambitious and comprehensive material to guidance and inspiration for outdoor light

planning in future projects in Copenhagen.

Copenhagen Lighting Masterplan Part I describes a strategic approach to the development of the

Copenhagen road and urban lighting to provide comprehensive energy conservation. It covered

a 1:1 replacement of more than 20.000 light-points to LED technology with the prospect of a

transition to Smart City lighting (Citelum 2014:9). However, despite technically advanced equip-

ment and improvement of the light sources energy consumption and durability, the fundamental

system of the public lighting didn’t change. The type and amount of fixtures and the position

and direction of light sources remained the same, It did not consider contemporary needs for the

design of urban spaces. Hence this didn’t, Isolated seen, form the basis for innovation but for

renovation (Citelum 2014:6).

On the contrary, Copenhagen Lighting Masterplan Part II had a more qualitative approach to un-

cover the potential of creating more safety-enhancing, more comfortable, more vitalizing, more

characterful, more democratic and more nature friendly lighting for public spaces. The aim was

to rethink public lighting inspired of how people experience and uses the city at night, through an

extensive involvement of local communities and everyday users. A sociological survey (‘Analyse

af Lysoplevelsen i København’) conducted by culture design bureau UIWE, was ordered by Citelum

in order to gain knowledge of the existing experience of the public lighting in Copenhagen. Even

though the purpose of this material only was to give an impression of important topics in the

perception of Copenhagen lighting, many interesting issues of public lighting was raised. And for

me it spawned new ideas to later work with human centric lighting which responds to an increased

use of urban space.

Motivation

Initial Research

2

THINKING WINTER

16

”I often think that it is very dark. Whenever I try to kick-start my run-ning, I get discouraged when winter comes, because it is too dark, and I’d rather avoid being outside at night.”

Louise 26 years, Analyse af Lysoplevelsen i København, p. 77 - translated

The sociological survey ‘Analyse af Lysoplevelsen i København’ by UIWE is based on more than

300 qualitative interviews of local and visitors of Copenhagen in the period from December 2013

to February 2014. This survey formed an exceptionally comprehensive mapping of Copenhagen

lighting experiences. These statements gave insight into how people experience public light and

exploits the city at night.

One of the findings in this survey, that I find most interesting, was that the users of the city rad-

ically changed their perception and use of public spaces during the seasons. This change was not

only related to the season itself but more specifically to the change in lighting conditions (see

fig. 1).

Originally the period for conducting interviews, was chosen based on considerations of how to

reach as diverse a range of users as possible during the hours where public space was light by

artificial lighting. Therefore, in order to reach a wide range of people of different ages, gender and

affiliations, the interviews were conducted in hours with the biggest flow - approximately after

work/school/etc. Hence, the period of the study had to be planned in the winter in order for the

electrical light to be active between 16.00-19.00.

The study concludes a tendency of the users, in various situations, are feeling pacified during

the winter months (see fig. 1). The current public lighting does not relate to the premises of the

winter season. The consequences of this changed behavior is:

Discourages outdoor activity in the dark hours

Dead streets during the dark hours

Streets feels unsafe in the dark hours

Problem Area - A Pacifying Winter

17

Children families experiences that many playgrounds feel unsafe after dark, and in some

cases are subject to and a gathering spot for inappropriate use (Citelum 2014:102).

Due to lack of light, young people have to refrain from being active and use sports fields

and skate lanes at end of the day in the dark season (Ibid.).

Streets and squares are popular hot spots during the summer, but users express that

they tend to use them less / or not at all in winter (Ibid.).

Squares with black pockets or dark surroundings is perceived as unsafe. Holistic lighting

of the seats will accommodate opportunity to orient themselves and feel safe (Ibid.).

Users report that they adapt their behavior to the changing seasons, but generally sup-

port that they would appreciate more opportunities to exercise in winter (Ibid.).

Changed behavior during the winter months, e.g. changed habits of transport. Several

participants said that they would leave the bikes at home during the winter months and

use public transport (Ibid.).

Highlighted findings in Sociological Survey:

Fig. 1: Highlighted Finding in Sociological Survey

In a lighting context these issues relates to many aspects of lighting design, which beneficial can

be investigated; The biological and the psychological circadian rhythm, and in continuation of this

subject: Human Centric Light (HCI). The aspects of safety feeling and security enhancing lighting

theory are also very relevant approaches to these issues.

In this master thesis project I have chosen to limit my work with lighting to a positive motivator

for facilitating active use of the public spaces during the dark hours of the winter months.

18

Access to daylightAt the Danish latitudes, we experience long bright summers and long dark winters. This is a fact

that most people residing in Scandinavia are familiar with.

On the following two pages an overview of the quantitative and qualitative distribution of natural

light in Denmark is presented (data from: torbenhermansen.dk/almanak, design by Sofie Linneb-

jerg).

The first diagram (fig. 2) show the light distribution throughout the day. The two red lines marks

the average working hours (37 hours per week). If the work hours are subtracted from the dia-

gram, we get an expression of the time we have to our disposal outside of the average working

hours (fig. 3). This means, that during November, December, January and February we almost do

not get to experience direct sunlight in our spare time.

Therefore I find it highly critical if the city dwellers from the sociological survey experience the

winter as pacifying during the dark hours - as the dark hours are far supernumerary. I believe that

there is a strong need to look into the issues of the current way to plan for outdoor urban life, in

order to set some new framework for improvement.

Night - The night is astronomically speaking period from sunset to sunrise

Astronomical twilight, which lasts until the sun is 18 ° below the horizon

Nautical twilight, which lasts until the sun is 12 ° below the horizon; but can you not discern the outline of the outside, and the brightest stars are visible

Civil twilight, which lasts from sunset until the sun (the sun's center) is 6 ° below the horizon; that's so bright that you can read at a west-facing window

Golden Hour - a period shortly after sunrise or before sunset during which daylight is redder and softer than when the sun is higher in the sky

Solar elevation above 30degrees

Solar elevation above 60 degrees

Fig. 2: Natural Light Calendar

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

JANUARY

FEBRUARY

MARCH

APRIL

MAY

JUNE

JULY

AUGUST

SEPTEMBER

OCTOBER

NOVEMBER

DECEMBER

Fig. 2: Natural Light Calendar

1 2 3 4 5 6 7 8 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 16 17 18 19 20 21 22 23 24

JANUARY

FEBRUARY

APRIL

MAY

JUNE

JULY

AUGUST

SEPTEMBER

OCTOBER

NOVEMBER

DECEMBER

MARCH

Fig. 3: Natural Light Calendar - for leirsure hours

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Inconsistent Findings In the summer 2013 - a few month before Analyse af Lysoplevelsen i København was conducted

by UIWE - Copenhagen Municipality conducted their annual Urban Life Account, with a special

focus on examining the users experience and use of the city as: Vibrant and Varied. The report

concludes with convincing feedback that there is a great satisfaction with urban life as vibrant

and varied. As much as 87% of the Copenhageners answered that they were satisfied with their

opportunities for taking part in urban life, and 59% of Copenhageners found their local area vi-

brant and varied.

“9 out of 10 Copenhageners are satisfied with their opportunities for taking part in urban life”

(Københavns Kommune 2013b:5).

The sociological survey conducted by UIWE concluded a tendency of the city dwellers feeling pac-

ified during the winter months. Hence the urban life account conducted by the City of Copenha-

gen does not disprove nor confirm the results of the sociological study. But certainly provides an

excellent opportunity for further scrutiny of possible reasons for the very divergent conclusions

of the experience of public spaces and urban life.

I find it interesting, that these two surveys, despite basically identical purposes, presents con-

tradictory findings. Both surveys seek to investigate the city dwellers experience of their urban

environment, for the sake of future planning and development. This suggests, that one of the

surveys are neglecting some conditions, or that the method applied (and the derivative process)

in some way are inadequate.

In the following chapter I will therefore examine the inconsistencies between the two studies from

Light Masterplan and the City of Copenhagen in terms of their methods and aims.

22

“By the first ray of spring sun, Copenhagen awakens from its hiber-nation. The city changes character, and suddenly there is life and city dwellers everywhere, which during winter used to be deserted.”

Ayfer Baykal, Teknik- og Miljøborgmester, Bylivsregnskab 2012:3 - translated

In the early eighties Jan GehI, architect and founder of Gehl Architects, developed a human-cen-

tered design philosophy linked to planning in public areas. This philosophy contributed to Denmark

becoming a pioneer in urban planning with a human scale. Gehl and his work has put a big mark

on the Danish and especially Copenhagen urban planning, which has been ranked among the most

livable cities in the world by several international media.

Dating back to the seventies, the Municipality of Copenhagen began, quite uniquely, an annual

registration and urban life account. Over the years these registrations have created and archive

of urban life accounts which help us gain an overview of how urban use has evolved over time.

Beside a quantitative count of users at selected locations covering most of Copenhagen, the

annual urban life account also reflects on current urban development tendencies and initiatives.

Tendencies and initiatives such as: improvement of diversity, development of harbour life, promo-

tion of health and activity, etc.

The guidelines of these counts were originally drafted by Jan Gehl. (I have, unfortunately, been

unsuccessfully in my attempt to retrieve the original guidelines from the City of Copenhagen. I

have therefore decided to rely on architect Ellen O’Gara as my source on the subject). Interest-

ingly, according to these guidelines, the count is to be conducted during summer and only under

the condition of bright sun. This means, that the winter season and the winter conditions, have

systematically been neglected by the annual registration of urban life and excluded from the

major works that form the basis for adjusting initiatives and projects. It is fair to suggest, that

this has had influence on the planning of the urban life and thus the design and planning of urban

spaces - in favour of the summer.

To illustrate this point, I have examined the visual material in 12 publications by Copenhagen

municipality from between 2007-2015: (Byudviklingsredegørelse (2015), Fællesskab København (2015),

Gevinster ved investeringer i byliv og bykvaliteter (2015), Metropol for Mennesker (2015), Urban Life account (2013),

Urban Life account (2012), Trafiktælling 2012, Urban Life account (2011), Trafiktælling 2011, Arkitekturby København

(2010), Urban Life account (2010), Natten i Byens Lys (2007))


23

3 %97 %

6.4 %93.6 %

Photos displaying outdoor citylife in Winter

Photos displaying outdoor citylife in sunny and warm climate

Jan Gehl - Cities for People

City of Copenhagen - Papers

Fig. 4: Visual Prioritization of Seasons

24

The selected publications represents the communication, dissemination and evaluation of urban

life, urban planning, city politics and city development in Copenhagen. These publications are us-

ing large quantities of visual material to document urban city life in Copenhagen. When examined,

the representation of the four seasons, seems to be vastly dominated by the summer season (fig.

4: Visual Prioritization of Seasons).

Jan Gehls work: ‘Cities for People’ (2010) has likewise been examined (fig. 4)

With only 3% and 6.4% of the visual material displaying outdoor urban life in the winter season,

It leaves the summer seasons with massive visual dominance in Copenhagen municipality’s pub-

lications and Jan Gehls work. This ratio implies a tendency to perceive urban life as attributes to

the summer season.

My above mentioned examination is obviously not an exhaustive study. But the result indicates,

that some of the most influential Institutions: Gehl Architect and the City of Copenhagen plus var-

ious partners and contributors mentioned in the publications, are using methods favoring summer

urban life above winter urban life. However, when it comes to designing urban spaces, it is my

opinion that we need a more conscious process to incorporate the winter premises for urban life.

25

In my initial research, issues have been uncovered regarding: the experience of urban spaces

during the dark hours of winter. This leads to a understanding of lighting as an important factor

for outdoor activity during the dark hours of winter. It also reveals, that the present condition of

public lighting are experienced as inadequate - in terms of providing a framework for active use

during the dark hours of the winter months.

In addition, an examination of urban planning related papers published by the City of Copenhagen

suggests a systematically neglect of winter as a framework for urban life.

The initial research has led me to the following problem statement:

Problem Statement

How can LIGHTING facilitate outdoor ACTIVITY

during the dark hours of WINTER months?

Theory

3

THE NORDICDIMENSION

27

Is it possible for the winter in the city to be warmer, brighter, safer and more fun?

(DAC pamphlet, Vinterbyen 2016:2 - translated)

In January 2016 DAC (the Danish Centre for Architecture) opened the exhibition ‘Vinterbyen’,

introducing, for the first time in Denmark, the urban development concept: Winter Cities (see:

Winter City Theory p. 29). The exhibition thematized urban culture and urban design celebrating

winter, and showcasing projects from all over the world (fig. 5: Vinterby, DAC Exhibition). The ex-

hibition posed an open question to the audience: Can the city create a good framework for urban

life in winter - but different from what we know in summer?

The exhibition was curated in collaboration with architect studio Platant. Same architects which

in the recent four years, have been very active with experimenting with Winter City projects in

collaboration with the municipalities of Copenhagen and Frederiksberg. During these projects,

installations and events have been tested on local neighborhoods during the winter season.

In the subsequent reporting of these projects, the general purpose of the exhibition was stated

as:

“Creating the good winter life in the city. [...] Initiatives and measures in order to create more life,

activity, and a safer environment.” (Afrapportering_Platant, 2014:3 - translated).

One might say, that this beginning interest in Winter City projects reveals a mentality shift in the

way we perceive urban life - now including the winter season as a potential to explore the city in

a new light (figuratively and literally).

Winter City Intro

28

Winter City Projects, photos by Platant

Fig. 5: Vinterby, DAC Exhibition

29

“We must learn not only to accept seasonal change, but also to ap-preciate its fundamental beauty.“

(Pressman 1995:73)

Winter cities, is a relatively young concept. In some countries it constitutes a movement, for pro-

moting the idea of improving the living condition in areas with northern climate conditions. The

concept engages a wide range of cross disciplinary professionals, including: architects, planners,

engineers, parks and recreation professionals and public workers.

The Winter Cities Institute was founded in 1982 by Patrick Coleman, for the purpose of gener-

ating, sharing and promoting knowledge of the urban design concept Winter City. Coleman had

found, that northern cities lacked methods with a more systematic analysis of city design or

planning in order to create livable urban environments.

“If living conditions are to be improved in northern areas, climatic imperatives will have to be

accommodated and integrated as a part of the design and planning process from the outset.”

(Pressman 1995:4)

In terms of understanding the concept Winter City, the theoretical framework is provided by Nor-

man Pressman, Professor in Urban Planning and Design at the University of Waterloo, Canada. I

have primarily used Pressman’s magnum opus: ‘Northern Cityscape’, where he introduces theory,

strategies as well as prescriptions to Winter City planning, design, and policy.

Primarily I chose ‘Northern Cityscape‘ based on Pressman’s design philosophy. A philosophically

approach to climate sensitive design, as a way to work with nature and not overcome it. In a

lighting context, I see this as a strength and an opportunity to work with holistic and intelligent

lighting which senses and respond to its environment and encourage to activities - as previously

mentioned in the intro (Foreword p. 8).

Furthermore Pressman states that:

“The benefits of designing with nature are not only practical but also aesthetic and sensory.”

(Pressman 1995:72).

The balance between functional and aesthetic properties, is in my opinion, extremely meaningful

regarding planning of light. Lighting for public spaces must not only fulfill functional needs but

also meet the need for aesthetics - which holds the potential to create new attractions, and

hence new functions (see also: Stimulation p. 37).

Winter City Theory

30

“It would appear most appropriate that we consider managing and designing landscapes, buildings

and the open spaces between them, in a way which emphasizes rather than minimize the variation

of seasons [...] which accommodate and celebrate life in all seasons” (Pressman 1995:72).

Thus Pressman states, that in order to provide meaningful environments, the planning and design-

ing ought to work with the winter conditions as a prevailing force - not for the sake of creating

a winter season city, but in order to develop a multi-season city. A city where the alternation

between different seasons adds enrichment to the experience of the urban spaces and allow the

city dwellers to develop a sensitivity to nature.

In ‘Northern Cities‘ Pressman does not define what constitute a Winter city. Winter City is outlined

by its “Northern Identity“. Pressman defines (and rates) the “Northern Identity“ based on the

dynamic of the natural landscapes:

Weather - storm wind, rain, snow, ice, fog, clouds, sunshine, and the nuances which these

create on the landscape, including buildings and spaces enclosed by them.

Seasons - cyclical variations of the seasons reflected in dramatic climatic shifts, changing

colours and forms, growth and decay, provide the annual cycle with a consistent and

rhythmic unity and regular transformation.

Day and Night - shifting rhythms of brightness and darkness, morning, and evening, dawn

and dusk create changing moods and shapes throughout the built and natural environ-

ment (Pressman 1995:45).

Weighted by sub-factors within the above factors, a winter city can be rated as more or less

severe based on a point system (Appendix: Winter Severity Index p.102). For comparison: Co-

penhagen ranks as the least severe with an index value of 25 points, while Novosibirsk ranks as

the most severe winter city with an index value of 59 points. As a median, Oslo is ranked with 42

points (Appendix: Winter Severity Index - Selected Cities p.103) (Pressman 1995:19,20).

The Winter City concept appears rather complex, and engages many different aspects of urban

planning. So in order to offer some practices and guidelines, Pressman describes and analyses

cases of how habitation and climate has influenced peoples lifestyles in countries with severe

winters. However, the case studies deals with extreme winter (with high ranks on the Winter Se-

verity Index), and features cities with a very different landscape and climate than experienced in

Denmark. I have therefore chosen to clarify and develop more generic design areas that relates

to all types and levels of the Northern Identity, as a vital tool for the planning and designing of

Winter City Lighting.

31

In Northern Cityscape Pressman presents his research of theoretical and practical issues which re-

volves around trends and practices (Pressman 1995:Back cover). Northern Cityscape’s interpre-

tation of Winter City theory thus appears as an eclectic juxtaposition of issues, without an overall

strategy for dealing with a generic winter city. In order to operationalize Pressman’s research for

systematic utilization in a subsequent concept development, I decided to examine Pressman’s

research in order to identify theory, that relates to all types and levels of the Northern Identity

(see ‘Northern Identity’ p. 30).

For this purpose I have processed Northern Cityscape and extracted research neutral to climate

and landscape (Northern Identity), and subsequently sorted the accumulated research in three

main groups, which I have named: Dynamics, Culture and Stimulation (implicit: visual stimulation).

Moreover I find these generic main groups suitable for interpretation in a lighting context.

Given that these three subjects are generic and therefore applicable to all levels of winter severe-

ness in order to accommodate winter in a way that will enable us to enjoy its beneficial qualities

and reduce the winter-induced discomfort. I will henceforth reference to these as: Key Enablers.

It should be mentioned, that despite the fact that these terms are not explicitly employed in

Northern Cityscape, I have discovered three similar concepts which are mentioned in one of Press-

man’s articles concerning Winter City theory:

“[...] the raison d’être of central areas – aesthetic qualities, climatic comfort and programmed

events” (Pressman & Lüttgen 2002:3).

Pressman does not elaborate further on the three raison d’être. But I find a significant resem-

blance between Pressmans raison d’être of central areas and my propositions for generic Key

Enablers:

Climatic comfort Dynamics

Programmed events Culture

Aesthetic qualities Stimulation (visual)

In my further unfolding of the three Key Enablers I have produced diagrammatic compilations of

Pressman references regarding: Dynamics, Culture and Stimulation. I will in the following examine

these three Key Enablers Dynaics, Culture and Stimulation, and elaborate their qualities in terms

of lighting or ability to improve outdoor urban life during winter. I consider these Key Enablers as

a powerful tool in urban planning and not least to develop Winter City Lighting.


32

DynamicsDynamics: Climate must in particular be given a meditating role in planning and design. It must

assume a pivotal position between socio-cultural requirements and the corresponding built envi-

ronments. But in order to create a multi-seasonal city, it is crucial to incorporate the alternations

between climate factors (fig. 6: Key-enabler Dynamics).

As one of the most prevalent strategies, Pressman highlights ‘Climate-responsive’ design in cre-

ating a relationship between people and their environment:

“It will be essential to explore the broadest possible range of choices available for creating a

balance which protects people from and exposes them to winter’s elements. In this way, human

settlements can endear themselves to their inhabitants and, in so doing, appear less inhospita-

ble.” (Pressman 1995:184)

Pressman encourages ‘weather-sense’ when designing comfortable and rewarding urban spaces

in order to extend the outdoor season. Ergo, the lighting:

“This requires extensive work with the natural as well as the built environment and their climate

tempering resources such as: site itself and planning, urban form and density, use of natural or

human modified topography, vegetation, built-up configuration, orientation, outdoor space char-

acteristics, type and location of openings, building materials, surface colours etc.” (Pressman

1995:4)

To embrace the dynamics of climate factors, the winter city lighting needs to assess and corre-

spond with the alternations. The lighting needs to be climate-responsive in order to provide at-

tractive framework for active use during the dark hours of winter. Modern technology employing

digital communication with the lighting, enables a system which can adjust to various factors.

Data of a sun calendar (see fig. 3 p. 19) can be employed in order to let the artificial lighting ac-

company the natural light. Sensor technology can be employed in order to make direct interaction

between the lighting and various factors. E.g. the presence of snow can activate a dimming of

the lighting - as the snow reflects the light, which means that the luminous flux of the luminaries

can be reduced. (Zumtobel 2015:11). Or more relevant for Danish climate: the lighting can be

adjusted to rainfall, as light reflects off dark, rain-covered asphalt, creating glare. An intelligent

sensor based system could thereby create energy savings and/or enhance safety.

“Reflective surfaces impact illuminance, increasing available light by up to three times. When

sensors and control systems are in place, lights can be dimmed accordingly.” (City of Pittsburgh

2011:53).

33

DynamicsSnow

Cyclic Variation

Cloudiness

Precipitation

Calendar

Darkness

Climate Responsiveness

Variability and Severity

Circadian Rythm

Temperature

Windiness

Day & Night

DurationWetness

Climate Stressors

DaylightIciness

Landscape

Extremes

Figure 6: Key Enabler ‘Dynamics’

34

CulturePressman describes culture and tradition as a central aspect of our mental attitude towards

winter (Pressman 1995:78), which nurtures a harmonious relationship between people and their

environment:

“Winter has, to considerable extent, shaped its history, helped to develop its customs and tradi-

tions, and has repeatedly been a central theme in both French and Anglo-Canadian poetry, litera-

ture, art and other forms of cultural expression” (Pressman 1995:75)

Correlations between winter culture and a positive attitude towards winter was found in a study

of the remarkably low rates of seasonal depression in Tromsø (Norway). Kari Leibowitz, PhD

Student at Stanford University, in Social Psychology sought out to study: “How the residents

of northern Norway protect themselves from wintertime woes?” (Leibowitz 2015:2). Leibowitz

had a particular interest in the extreme lighting conditions of Polar Night and Midnight Sun period

(Polar Nights: the sun doesn’t rise at all in the period November to January, and Midnight Sun: the

sun never sets between May to July). Many people would dread the idea of having to live through

several months completely without sunlight. However, during her field study, Leibowitz discov-

ered an unexpected positive attitude towards the winter season among the local city dwellers:

“Local informant: “I wouldn’t necessarily say summer is the best season.”” (Leibowitz 2014:3)

Leibowitz realised that there was an important cultural component. She therefore decided to

change objectives and began to examine ‘wintertime mindset’. Leibowitz found, that the relative-

ly small town Tromsø, was home to an astounding number of festivals, cultural events, and city-

wide celebrations, and that by November, open-flame candles would adorn every café, restaurant,

home, and even workspace. She observed, that far from a period of absolute darkness, the Polar

Night in Tromsø is a time of beautiful colors and soft, indirect light. (fig. 7: Tromsø Midnight

Sun). Leibowitz describes how she would: “walk or ski to meet-ups, arriving alert and refreshed

from being outdoors, inspiring me to bundle up and spend some time outside on even the coldest

days.” (Leibowitz 2014:3)

Leibowitz found that having a positive wintertime mindset with certainty causes people to have

greater life satisfaction - and that the local winter culture somehow are associated. I believe, that

the data gathered in the social survey by UIWE, provide an insight to the existing winter culture in

Copenhagen - or rather the lack of winter culture in Copenhagen. I believe that lighting design is

a great tool to activate existing local culture. And possibly like Leibowitz experienced: a positive

‘winter mindset’ by helping people to pay attention to its possibilities and potentials.

35

Fig. 7: Tromsø Midnight Sun, Photo by hugovk

36

CULTURERaces

Social Manifestations

Behaviour

Festivals

Communities

Vitality

Distinct Cultural Derivation and Meaning

Celebrations

Everyday Urban Life

Habits

Customs

Recognition

Ritualistic WaysSpecial Places

Historical Characteristics

Stories Carnivals

Local

Fig. 8: Key Enabler ‘Culture’

37

Stimulation

Pressman states that visual stimulation can contribute to create an urban environment and an

attractive framework for urban life:

“Visual stimulation through more intense sensory participation, will add greater vitality to urban

life.” (Pressman 1995:80)

Pressman argues that an aesthetic and stimulating environment, can help stage the Nordic winter

dimension and thus reverse winter deterrence (as indicated in the social survey p. 17), to a more

positive winter mindset:

“Too frequently, “cold” in urban centers is imaged negatively while “warmth” is pictured positive-

ly. A framework of interventions should make it possible to reverse such perceptions. In harsh

settings, aesthetic pleasure are paramount.” (Pressman 1996:193)

An interesting case, where visual stimulation is a vital feature of the lighting, is the little village

Lech am Arlberg: Lighting company Zumtobel and Lighting Consultant Dieter Bartenbach were

consulted to renovate the street lighting in Lech am Arlberg. Instead of reusing the conven-

tional ‘open bell luminaries* like in the Copenhagen Lighting Masterplan, they applied groups of

differentiated LED spots in a web-based controls system, gracing prominent architecture, nature

elements and strategic space defining surfaces (predominantly vertical surfaces) (fig. 9: Lech

am Arlberg Street Lighting). The result became a pioneer lighting project, where the lighting in

the meeting with spatial structures and materialities rendered a tangible sense of space to the

surrounding environment:

“I am relying on an integrated view of light and space, with the goal of visualising the typical ele-

ments in that space as well as providing proper basic lighting. This should maintain the recognition

value of the urban landscape at night and also lend a tangible sense of space to the surrounding

environment.” (Zumtobel 2015:4)

Apart from creating a stimulating environment, the winter city lighting in Lech am Arlberg also

allows navigation among the illuminated spatial structures, different sequences of spaces and

access points. The experience value of Winter City Lighting can vary greatly in terms of design

and effect. However, I believe that it is important to stress, that effect without consideration and

respect for the surrounding environment is not lighting design, but mere visual noise.

* bowl-shaped shielded open light source, in urban spaces usually elevated and downwardly direct-

ed, thereby forming a distinctive relatively wide conical pillar of light.

38

Photos by Zumtobel

Fig. 9: Lech am Arlberg Street Lighting

39

STIMULATIONNature

Sensory Participation

Experience

Atmosphere

Attractions

Vitality

Urban Fabric

Imaginativeness

Orientation

Attractiveness

Urban Furniture

Aestetic Qualities

CommunicationCharacter

Changing Moods

Materiality

Tactility

Fig. 10: Key Enabler ‘Stimulation’

40

Summary

The examination of the three Key Enablers: Dynamic, Culture and Stimulation provide a deeper

understanding of the concept ‘Winter City’ and offers a new perception of the winter conditions

as a potentials to explore the city in a new way:

“They conjure up winter’s positive and negative aspects - highlighting and neutralizing them si-

multaneously.” (Pressman 1995:33)

The three Key Enablers constitute cornerstones for developing a framework for active urban life

during the winter season:

Dynamics:

Winter cities can benefit from accommodating and facilitating climate and seasonal alternations

and identifying prevalence of weathering conditions and rhythms of natural light to create a light-

ing environments where it is comfortable enough for the city dwellers to experience and embrace

the outdoor conditions.

Culture:

Winter cities can benefit from enabling the local culture to expand to also include the winter

season, or lighting designed inspired of the local culture for a more successful integration in the

outdoor environment.

Stimulation (Visual):

Winter cities can benefit from offering the city dwellers a visual stimulating experience, as a part

of a more rewarding outdoor environment. The visual stimulating lighting can advantageously

reflect the local culture or nature (see Dynamics and Culture).

The set of Key Enablers represents a sub-goal in itself, given that the purpose of this thesis partly

is to develop theory for development of winter city lighting. Secondly, it is the intention to use

these Key Enablers through the Concept Development in a case specific implementation of Winter

City Lighting.

41

CULTURE

STIMU

lATION

DYNAMICS

WINTER CITYLIGHTING

Fig. 11: Key Enablers

Analysis

4

Winter Realm

44

In the previous chapter the Key Enablers: Dynamics, Culture and Stimulation were examined and

conceptually explored based on theory by Norman Pressman. The Key Enablers constitute a tool

to develop urban spaces which accommodates the Northern Identity (Northern Identity p. 30).

But in order to answer my problem statement (How a lighting can facilitate outdoor activity

during the dark hours of the winter months?) I wanted to take a closer look at the conditions for

active use during winter season.

The following analysis is a qualitative study of a diverse collection of Winter City projects which

applies lighting for activating city dwellers. The analysed projects, have been retrieved from exhi-

bition ‘Vinterbyen‘ and from the Winter City Institut’s infopage (see analysed projects: Appendix

p. 104-110).

The projects were not analysed in terms of the lighting effect, but in terms of a more technical

set of parameters: Time frame; Level of Technicality; Mobility (both the lighting and the viewers).

The parameters are chosen as they are characteristics where the Winter City lighting projects

deviate from regular permanent lighting installations.

The subsequent qualitative reflection upon the findings seeks to uncover potentials and challeng-

es of urban spaces facilitating active use. Ultimately the primary intention of this analysis is to

derive a set of success criteria as a framework for a case study.

Time frame of project

The ‘Time frame’ of project indicates how long the project and setup was intended to last. The

durability of the analysed Winter lighting projects varies from a few seconds, a longer period of

weeks to constitute an annual recurring event to a permanent installation.

Level of Technicality

The ‘Level of Technicality‘ indicates the projects use of more or less technical advanced light

sources and related technical components: sensors, intelligent computer systems for controlling/

interaction or alternative energy sources etc. or equivalent: mechanical, low-practice and primi-

tive lighting.


45

Mobility (lighting)

The ‘Level of Mobility (lighting)’ indicates the extent to which the lighting is mobile; both in terms

of the lighting apparatus and the lighting effect output. The level of mobility is evaluated in com-

parison with coherent ‘Time frame of Project‘ (to be understood as the frequency and extent of

the movement(s) in relation to the period of lifespan).

Mobility (viewer)

The ‘Level of Mobility (viewer)’ indicates the extent to which the lighting requires to be experi-

enced in motion or during stay. It is estimated weather the aim of project is to encourage the

viewer to move or to stay, both in relation to the light, but also in relation to the project in which

it is embedded to.

X Nota bene: The metric estimation provided for these parameters are solely a relational ranking of projects between the

two projects representing the extremes within the different parameters.

Figure 12: A few samples of analyzed Winter City projects, photos from Winter City Institute and DAC

46

TIMEFRAME OF PROJECTMomentary Seasonal

LEVEL OF TECHNICALITYLow technology High technology

KINETIC (LIGHTING)Stationary Mobile

KINETIC (VIEWER)During stay In motion

12 3 45 6 78

12 3 45 67 8

1 2 3 45 6 78

1 234 5 67 8

10 9 121314 11

10 1113 1214 9

9 1011 12 13 14

10 911 12 1314

Fig. 13: Projects from exhibition ‘Vinterbyen‘ and from the Winter City Institut’s infopage

(see analysed projects Appendix p. 104-110).

47

TIMEFRAME OF PROJECTMomentary Seasonal

LEVEL OF TECHNICALITYLow technology High technology

KINETIC (LIGHTING)Stationary Mobile

KINETIC (VIEWER)During stay In motion

12 3 45 6 78

12 3 45 67 8

1 2 3 45 6 78

1 234 5 67 8

10 9 121314 11

10 1113 1214 9

9 1011 12 13 14

10 911 12 1314

Fig. 14: Projects from exhibition ‘Vinterbyen‘ and from the Winter City Institut’s infopage

(see analysed projects Appendix p. 104-110).

48

Reflections In my analysis of Winter City projects applying lighting for facilitating active users, I generally

found, that the projects vary greatly in terms of: Time frame; Level of Technicality; Mobility (both

the lighting and the viewers). In the following qualitative reflection upon the findings, I therefore

chose to look closer at relations between the parameters (fig. 14 p. 47):

Time frame versus Technicality

Based on the estimation of the Technicality and Time frame of the Winter City projects, there

is a relatively clear correlation between level of technicality and the Time Frame for which it has

been constructed. In the sense that: the level of technical advancement are approximately linearly

proportional with the expectations of its lifespan. I believe it is very reasonable to suggest an

economic rationale determines: how many resources are invested in a lighting project relative to

the expectation of its performance.

Time frame

The analysed projects are often applying lighting in an already existing light environment. Among

the analyzed winter city projects, it is consistently found that the winter lighting does not relate

to the permanent lighting, but technically, practically and aesthetically speaking, are completely

separate light installations. Hence the current winter lighting uses extra equipment and extra re-

sources to be set up and displayed every season.

In order to create Winter City lighting facilitating active use, I see a potential in incorporating a

more gradual transition between the seasons and acclimatize the city dwellers to extend their

outdoor active hours to winter. In order to facilitate active use, the lighting can advantageously

function in an interplay with the others season. A multi seasonal interplay.

Mobility (lighting) versus Mobility (viewer)

Based on the estimation of Kinetic (lighting) versus Kinetic (viewer), there is an interesting and

significant correlation between the viewer, the light and their relative movements: a reversed

dynamic.

49

A reversed dynamic in a sense that: lighting aimed at a more static viewer, often uses light in

movement or (continuous motion or periodical). Visa versa, it appears to be the case that proj-

ects aimed at viewers in movement often uses fixed lighting.

One example is the art project ‘Traveling Sun’ (Project 11, Appendix p. 109), where a large lumi-

nous disc per car is transported from one location to another through a predetermined (and his-

torical) route in Norway. The locations of the lighting is planned and preannounced. The location

itself is not important to the lighting project.

This enables two types of experiences. The first experience is achieved when the viewer coordi-

nates his position according to the location of the art lighting project at a certain time to experi-

ence it. The art light project does not relate to the physical framework or a local cultural context

and therefore has no built-in invitation to move any further, but appears like an attraction in itself

involving a very limited amount of space.

The second experience is achieved when the viewer randomly and spontaneously discovers the

lighting on their route. However, since the lighting does not contain an invitation for exploration

/ movement, the viewer does not deviate from his original route. For both experiences, the dura-

tion of the experience of Traveling Sun is relatively short (compared to the average Winter City

project).

Other projects such as Freezeway, Capilano Canyon Bridge and Luminous Way (Project 8, 6, 5

Appendix p. 106,107) are facilitating static lighting. But the lighting is deeply embedded the

physical environment and arranged to encourage the viewer to explore and move around in the

landscape.

This reverse dynamics between viewer and lighting suggest considerations to one of the most

fundamental premise of Winter City: the massive exposure to coldness and darkness. In a sense

that the nature of optimal outdoor winter experience either fancy stay in a short amount of time,

or movement over a longer period of time.

In order to create Winter City Lighting the lighting can advantageously draw on both types of

experiences in order to facilitate active use: First the light can be arranged in a route, in order to

motivate city dwellers to move and explore and secondly highlight points of potentials in order to

attract and motivate.

50

Above analysis and reflection on Winter City projects, in terms of time frame, level of technicality

and mobility, uncover potentials to create Winter City Lighting which facilitate active use. From

these potentials, I have derived a set of success criteria. These success criteria will be framework

for a case study design.

A Route

A route offers experience during movement, which diminish the coldness of winter. A Route must

be the pivotal point of a coherent Winter City Lighting to promote outdoor activity in the hours

of darkness during the winter months. Both in the sense, that the route in itself is an attractive

and encouragingly incentive to move, but also in the sense, that stretches of the route propose

an alternative to the usual transfer from A to B.

Points of interest

A prior examination of the route and its varying physical and cultural environment must be per-

formed in order to map existing points of interest for special lighting. Points of interest have at-

traction values for many user groups: some will use outdoor art, a playground, a training stations,

lookout points, a cafe etc. as an incentive to go outside and walk, bike, jog etc. These points of

interest must be highlighted by Winter City Lighting.

Multi seasonal Interplay

Winter City Lighting for outdoor activity must be thoroughly incorporated in the planning of ur-

ban public lighting, which requires an intelligent interplay between various functions at various

seasons.

Success Criteria

51

Winter City Lighting is arranged along A ROUTE

Winter City Lighting highlight POINTS OF INTEREST

Winter City Lighting is functioning in a MULTI SEASONAL INTERPLAY

Case Introduction

5

Urban Fabric

54

In order to further investigate the subject of this master thesis: Winter City Lighting, I have cho-

sen a location to test success criteria (for facilitating outdoor activity), Key Enablers (for accom-

modating the Nordic Dimension) and answer the problem statement.

I have chosen to elaborate the Winter City Lighting in the physical and cultural context of the

harbour front of Copenhagen. This route has the potential of expanding to cover the entire har-

bour from Nordhavnen to Sydhavnen. But for the sake of limiting the area of investigations, I have

narrowed the route to run from Langebro to Bryggebroen in a circular route. Henceforth I will refer

to the route as the Harbour Ring.

Case Site

Key Enabler, Dynamic: The harbour fronts offers an interesting landscape, which cli-

mate wise causes strong onshore winds and ditto coldness. Also, the open space

above water provides an open view to the solar motion across the sky.

Key Enabler, Visual stimulating: The harbour fronts are already widely used as recre-

ational oasis and offer an attractive skyline of water and open sky.

Key Enabler, Culture: The harbour fronts constitutes demarcations between neighbor-

hoods in Copenhagen, which means that a route planned along the waterfront, will run

tangential to many different neighborhoods and thereby include many different users.

Success Criteria, A Route: The harbour fronts in Denmark are enforced by law: unin-

terrupted passage and undisturbed by motor traffic.

Success Criteria, Points of Interest: The Harbour Ring along the waterfront in the time

of writing already holds a considerable amount of diverse points of interest - and will

due to development plans, urban renewal projects and building projects gain many

more in the near future.

Success Criteria, Multi-seasonal Interplay: the use of the harbour and harbour fronts

highly reflects seasonal dependent activities.

55

The Harbour

Fig. 15: The Harbour Map

56

The Harbour Ring

Fig.16: The ‘Harbour Ring’ Map

57

Harbour Culture In recent years, natural and cultural life has sprouted along the harbor front - also in the win-

ter season: mussel farms have been cultivated, fishing from the piers, winter baths have been

a success, kayaking clubs are expanding, architectural houseboats and more bridges are being

constructed to increase the crisscrossing flow of visitors to the many hot spots along the harbor

front. The sprouting urban life along the harbour front (fig. 17, p. 58), will be the inspiration for

the concept development of Winter City Lighting. However, there is still room for substantial

improvements.

“In the recent years Copenhagen has been growing massively. More and more people are moving

to the city and more are willing to long term settlement. Which means that the city has to devel-

op especially housing for all of the city dwellers and to continue providing the public framework

for the good life. Development of urban spaces with opportunities for cultural activities is essen-

tial to the quality of life in the city. The harbour fronts in Copenhagen are a vital part of the city.

But large parts of the 42 km quay, which extends from Nordhavn to Sydhavn are not used outside

the summer months.”

(http://kulturhavn365.kk.dk/indhold/kulturhavn365 - translated)

As previous mentioned, the cultural life around the harbour is increasing. This is reflected in the

built environment, where temporary buildings, art, playful effect lighting can be found around the

harbourfront. Some of the newer built architecture even invites to stay in the dark hours with

pleasant lighting. The points of interest are often concentrated around hot spots which are very

active in the summer season e.g. Bølgen on Kalvebod Brygge, Havneparken at Islands Brygge and

Fisketorvet Pier (see fig. 17: Points of Interest p. 60).

Besides facilitating outdoor activity during winter, a second derived effect of a the Harbour Ring

could be a more evenly distribution of urban life for the benefit of respectively a less overcrowded

and a less deserted urban spaces.

58

Fig. 17:Random photos from Google search:‘havnekultur københavn’

59

Fig. 17:Random photos from Google search:‘havnekultur københavn’

Harbour Politics The built environment is highly variable, as the Kalvebod Brygge are dominated by commercial

buildings, while Islands Brygge is mostly dominated by private residential buildings. The Harbour

Route is therefore characterized by diverse types of traffic, building structures, planting, urban

furniture, as well as peak hours of activity. The incoherent zones along the Harbour Ring are par-

ticular reflected in street lighting. Certain zones are characterized by very bright architectural

lighting and other zones are characterized by the absence of an average street lighting. These

sharp transitions between illuminated and non-illuminated zones provide poor conditions for the

human eye to get an overview of the surrounding environment. The sharp transitions present a

visual barriers causing uncertainty and ultimately limits the use of the waterfront during the dark

hours.

In order to integrate lighting on the harbour front, some practical issues ought to be addressed

from early stage; As thematised in Copenhagen Lighting Masterplan, the harbour fronts are a

conflicted space, regarding its status as privately owned and publicly available:

“Because of their status as public passage and privately owned, these areas are challenging in a

planning context due to divergent interest groups and values. Cooperation on these tension-filled

spaces can result in creative and innovative solutions if you manage to create a good process.”

(Lysmasterplan 2014:127 - translated)

In order to integrate Winter City Lighting at the Harbor Ring, the design solution should also in-

corporate this aspect of the case.

“We have great interest in developing urban life at our harbour front. We have experimentally built

a small ornamental pool. But so far it hasn’t drawn much attention.” (Conversations with Poul Erik

Bjørnshauge, Director, Ingeniørforeningen - translated).

Findings:

The Harbour Route should deploy a coherent and unifying lighting, that visually can attract and

draw from old hot spots to potential new hot spots, and thereby motivate city dwellers to exploit

and move along the Harbour Ring.

60

Eating Points

Art Points

Lookout Point

Active Points

Culture Points

Mapping Point of Interest

Fig. 17: Mapping Points of Interest

Concept Development

6

xx

65

In the Initial Concept Development I will activate the three Key Enablers Dynamic, Culture and

Stimulation and their respective qualities (p. 33, 36, 39). I have created three concept ideas,

which seek to incorporate qualities from all three Key Enablers, though the individual concept idea

is predominantly orientated towards one of the Key Enablers:

Concept Idea Weather sense Key Enabler Dynamics

Concept Idea Beacons Key Enabler Culture

Concept Idea Sun Dogs Key Enabler Stimulation

In the Initial Concept Development I have methodically used brainstorm and abstract illustration.

Both presents suggestive features and employs a creative and explorative approach. The written

features in the brainstormings are colour-coded, to designate classifications within the three Key

Enablers. I will elaborate on each of the three concept ideas on the following pages.


66

Fig.

18:

Con

cept

Idea

‘Sun

Dog

s‘

67

Sun Dogs

Stimulation

Culture

Dynamics

Sensor detects: dayligth

Multi-seasonal lighting

Predominanlty significant in the winter

Clock and calendar based: gives a sense of time and season Prolongs the day

Decreasing daylight - increasing lightplay

A moving lighting

One harbourfront for rising scenario Graduately changing

Inspiration: Sun Dog Light Phenomenon

Activates the city dwellers: Cath the sun!

Or observe it from distance

One harbourfront for setting scenario

Best seen and are most conspicuous when the Sun is close to the horizon

Light interacting with ice crystals in the atmosphere

Before sunrise, after sunset

Typically appear as two subtly colored patches of light to the left and right of the Sun

Fig. 19: Brainstorm ‘Sun Dogs‘

68

Fig.

20:

Con

cept

Idea

‘Bea

con‘

69

Beacons

Stimulation

Culture

Dynamics

Lighting react to and cultivate activity and events

For conveying information by means of visual signals - lighting

Closely connected to Points of Interest

Attracts attention to a specific location

Calendar controlled - events, activities etc.

Orientations points of lighting

e.g. lighting at the entrances to the harbourfronts

Activates e.g. lighting in the water e.g. regular placed lighthouses that gossips of special

activities

For precarious and vulnerable users

The lighting are conveying activity

Does not exposure the users

A special lighting feature for promoting events and planned activities

spontanious activities

cooperation with local committees

cooperation with local organizations

Fig. 21: Brainstorm ‘Beacons‘

70

Fig.

22:

Con

cept

Idea

‘Wea

ther

Sen

se‘

Fig. 23: Brainstorm ‘Weather Sense‘

71

Weather Sense

Stimulation

Culture

Dynamics

Sensor detects: Weather conditions

Multi-seasonal lighting

Lighting intensifies at : urban pockets with shelters and covers

Renders rewarding urban spaces Wind - direction

When weather changes - lighting changes

Graduately changing

One harbourfront for rising scenario Guiding lighting

Special lighting at temperatures <0o C and >25o C

Incorporates a comfort analysis

Discomfort Matrix

Weather conditions e.g.:

Guides to Indoor Points of Interest

The lighting are conveying temperature of the water?

Average air temperature

For winterbathers, kayakers, musselfarmers, fishermen etc.

Site data: work with the landscape

Fig. 23: Brainstorm ‘Weather Sense‘

72

Summary

In this chapter I have presented three concept ideas derived from the three Key Enablers (Dy-

namics, Culture and Stimulation) and explored through the process of brainstorming and abstract

illustration:

Concept Idea Weather sense Key Enabler Dynamics

Concept Idea Beacons Key Enabler Culture

Concept Idea Sun Dogs Key Enabler Stimulation

Weather Sense

Weather Sense is derived from the Key Enabler ‘Dynamics‘, and builds on the idea of a climate

responsive lighting system. This concept idea seeks to work with an intelligent visual guidance

depending on the distinctive weather conditions in Denmark: wind, rain, snow etc., to highlight:

urban spaces which offers cover, shelter or warmth. By a special lighting system, the city dwell-

ers are guided to occupy comfortable and rewarding urban spaces. Hence the negative effect of

being exposed to changeable weather conditions can change into an exploration and discovery of

new urban spaces with special potentials.

Beacons

Beacons is derived from the Key Enabler ‘Culture’, and builds on the idea of visually accentuate lo-

cations of events and activities and thereby allow spontaneous experiences and render the urban

environment in the light of the local culture. This concept seeks to create a strong relationship

between the city dwellers and the surrounding environment. Beacons offers a visual announce-

ment of cultural events and activities at the harbor front. The special lighting from the beacons

nurture a positive ‘winter mindset’ by helping people to pay attention to the possibilities and

potentials of the outdoor urban environments.

Sun Dogs

Sun Dogs is derived from the Key Enabler ‘Stimulation’, and is inspired by dynamics of celestial

lighting and how it significantly influences the sense of time and the level of activity. The artificial

light was invented as the natural lighting no longer fulfilled the modern man’s need for active

hours. This concept seeks to extend the transition in between day and night, and hence keep the

sense of the circadian rhythm - but highlight the active hours of the modern city dwellers.

73

Concept Development

The previous chapter presented three concept ideas derived from the three Key Enablers (Dy-

namics, Culture and Stimulation), explored through brainstorming and abstract illustrating. In a

subsequent evaluation of the three concept ideas, I have found that ‘Sun Dogs‘ addresses the

most critical premise of winter: The dwindling daylight and overwhelming darkness. The concept

idea thus corresponds directly to the findings in the sociological survey of the city dwellers expe-

rience of the public lighting and the winter season as pacifying (p. 17).

Chapter IntroductionIn this chapter the sections ‘Photonic‘ and ‘History‘ will elaborate on the potentials of the concept

idea ‘Sun Dogs‘. ‘Photonic‘ seek to review latest research to inspiration for later development of

a technical apparatus. ‘History‘ seek to find narrative inspiration for the lighting experience.

74

PhotonicThe lighting effect in ‘Sun Dogs‘ is a variant of the optical lighting phenomenon ‘halo‘. Halos are

produced by sunlight interacting with ice crystals suspended in the atmosphere, resulting in a

wide variety of colored or white rings, arcs and spots in the sky - similar to what happens when

light passes through a prism (fig. Fig. 24: Halo: Ice Crystal Refracting Sunlight). The formation of

Halos takes place in the upper part of the troposphere from 5 to 10 km altitude. In the high-al-

titude the cirrus clouds are cool and turns the water vapor into ice crystals. The geometric, size

and orientation of the ice crystals, is what produces a myriad of variations: Sun Dogs, 22° halo,

subsun, parhelia, circumzenithal arc, supralateral arc, parry arc, heliac arcs etc. (Großmann et. al.

2014:3).

In order to generate an artificial halo, for qualitative visualization, it has been practice to use a

single crystal instead of many - which otherwise is closer to conditions in nature. To create round

arcs, it requires that the single crystal is rotated. Some variation of halos even requires simul-

taneous rotation around two or three axes (Großmann et al. 2014:1). The single crystal experi-

ments have suffered from the lack of apparatus that allows simultaneous rotation around two and

three axes (Großmann et al. 2014:1). However, a new setup was presented in 2014 by Michael

Großmann et al. which overcomes the restrictions by combining electrical as well as pressurized

air driven rotors (fig. 25 p. 76).

However the researchers noted, that there are fundamental differences in symmetry between

observations of halos in nature and in the laboratory due to the different arrangement of light

source, crystals, and observer. “In nature, the crystals cover an extended region in space whereas

in the laboratory, they are small. In the laboratory, the observer looks at a screen mostly from

the direction of the light source whereas in nature he directly looks toward the light source”

(Großmann et al. 2014: Ibid.).

Sun Dog instrument

The instrument for this concept can advantageously draw inspiration from the nature of the ef-

fect, but also on the research of an artificial reproduction. The lighting effect hold great potential

for offering attractive visual stimulating environment that facilitate outdoor active use during the

dark hours of winter.

75 Fig. 24: Halo - Ice Crystal Refracting Sunlight

76

Fig. 25: apparatus that allow simultaneous rotation around three axes, Großmann et al.

77

Fig. 25: apparatus that allow simultaneous rotation around three axes, Großmann et al.

78

History The halo has through the ages been considered everything from bad omens, weather predictions

to deities. The exact etymology of ‘sun dog’ largely remains a mystery. The Oxford Dictionary

states it as being “of obscure origin” (www.oxfordreference.com/view/10.1093/oi/authori-

ty.20110803100542361). Suggested from Norse mythology and archaic names in the Scandi-

navian languages (Danish: solhunde (sun dogs), Norwegian: solhund (sun dog), Swedish: solvarg

(sun wolf)), the constellations of two halos represented two wolves hunting the Sun and the

Moon, one after and one before (Persson, Jonas. “Norse Constellations” www.digitaliseducation.

com/resources-norse).

Observation of these celestial lighting phenomenons and their movements were of great im-

portance for navigation. Observing the light would also provide a sense of time and a sense of

season. As the earth is closest to the Sun in the northern hemisphere’s in winter months and

furthest from the sun in the summer months, the size of the sun and its path across the sky

varies throughout the year (DMI, www.dmi.dk/nyheder/arkiv/nyheder-2008/solen-maanen-og-

jorden-en-tegneserie/). Likewise, the size and character of sundogs would also vary according to

the time of day and time of year.

Sun Dog Narrative:

The Narrative of this concept is an interpretation of the ancient idea and utilization of the celestial

lighting into a modern context, where an artificial lighting phenomenon complement the rhythm

of the natural light, to a new light clock. The aim is to expand the sense of time that meets the

need of a the modern city dweller and facilitate outdoor activity during the dark hours of winter.

79

Fig. 26: Google Search: ‘Sun Dogs’

81

Final Concept

The previous chapter examined the historical and technical aspects of the natural lighting phe-

nomenon Sun Dogs.

The sun dogs are chasing the sun and the moon. The final concept has interpreted this cyclic

winter phenomenon into an artificial lighting phenomenon, that complements the rhythm of the

natural light. The final concept is proposing a light expression of time. A light clock. The aim is to

expand the sense of time that meets the need of a the modern city dweller and facilitate outdoor

activity during the dark hours of winter.

The lighting instrument producing the effect will reflect this effect and dynamic to offer the city

dwellers an attractive visual stimulating environment that facilitate outdoor active use during the

dark hours of winter.

The following sections: ‘Functionality’, ‘Digitalization’ and ‘Aesthetics’ will provide an overview of

the further detailing of the concept ‘Sun Dogs‘ within the aspects of exactly: functionality, aes-

thetics and digitalization, (in accordance with the semester description and constitution of the

Master’s Program in Lighting Design).

82

The Functionality In this section the instrument concept capable of producing the lightig effect inspired by Sun

Dogs phenomenon will be presented, including: application, technology and materials.

There are few previous examples of lighting designs featuring the halo phenomenon. And fewer

examples that imitates the natural atmospheric phenomenon. An example of an approximately

design is created by Asif Khan for Swarovski which uses boards of crystals to reflect/refract the

incident light from a single strong light source (fig. 27a).

In the physical context of the Harbour Ring, demands are high for urban interior in terms of ro-

bustness and maintenance, which raises some concern regarding the use of crystals and the use

of multi rotational mechanics. I have therefore sought alternative methods for producing a similar

effect of arched lighting. This led me to the interesting fixture WaWa of the Italian based lamp

design studio: Catellani & Smith. The WaWa fixture obtains the effect by a semi-spherical glass

lens which is mounted close up to a LED chip (fig. 27b) This has inspired me to an instrument

concept which produces a halo effect and meet the practical requirements for outdoor luminaries.

Instrument

The lighting instrument is using a semi-spherical glass lens as the first light manipulator, to create

the halo effect (see fig. 28 p. 85). The size of the lens and the brightness of the light source

is adjusted so that the magnitude of the effect corresponds to the area of intended application

(see Appliance p. 84). The light source consist of a neutral white LED with a very hight Color

Rendering Index - as the lens refracts some of the light into colors in the periphery of the circle

arc (see fig. 27b).

As a second light manipulator a physical stencil or template is slotted in after the glass lens to

control the shape of emitted light (fig. 30, 31 p. 92, 93). The stensil is a customized piece of

metal with patterned holes which the light passes through. The stensil only allows the light in

a desired pattern through, while blocking the rest of the light. Hence the lighting effect can be

adjusted to various architectural shapes and facade structures.

83

Fig. 27a: ‘Parhelia, Asif Khan for Swarovski ‘

Fig. 27b: ‘WaWa’, Catellani&Smith

84

Appliance

In order to create the experience of a light clock, the lighting effect ought to be easily seen from

many directions. Therefore, I have applied the lighting effect on a vertical surface orientated to-

wards the water, so it possible to be experienced the lighting from close range as well as from the

opposite harbour front - This will also cause the lighting effect to be mirrored in the water (see

fig. 30, 31 p. 92, 93). I have chosen a series of buildings, based on their location on the Harbour

Ring. The locations are determined based on the mapping of points of interest, so the lighting

effect would fill out areas with lack of attractive experiences and thus contribute to a coherent

and motivating route.

The chosen buildings are: Copenhagen E-conomics at Langebrogade and Hostmaster A/S head

quarter and Swedbank on Kavlebod Brygge. These buildings and their facades fronting the water

constitutes the urban fabric on which the lighting effect will be applied.

Neutral white LED with hight CRI

semi-spherical glas lens

Metal stensil

Fig. 28: Lighting Instrument (Concept Sketch)

86

The Digitalization In order to transform a lighting effect into a clock device, the lighting must be connected to a tim-

er and a controller, containing the data of a daylight calendar and the information of the desired

activation time and deactivation time. The following page illustrate how the white lighting effect

are compensating for the lack of natural daylight during the winter months.

The timer will activate the light every day at 6:00 in the morning unless the brightness of the

natural daylight exceed a certain value. The lighting effect will keep increase in brightness until

the brightness of the natural daylight reaches a certain value. The speed at which the brightness

of the lighting effect increases are determined by the time of year. E.g. In the winter months the

lighting effect will be active in longer period, and therefore correspondingly be intensifying slowly,

and visa versa during the summer months.

Moreover, In order to react according to the surrounding light environment and its shifting bright-

ness, the system must be connected to sensor equipment and a computer as a optional remote

controller. The light sensor connected to the lighting system adjust the brightness of the lighting

effect according to the weather condition (e.g. low clouds above cities, reflect the public lighting

in the evening, and thereby creating a slightly brighter environment).

The result will be a timed, dynamic and adjusting lighting effect which manipulates the perception

of the cyclic rhythm by expanding the transition between night and day, in order meet the modern

mans need for active hours.

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24

JANUARY

FEBRUARY

MARCH

APRIL

MAY

JUNE

JULY

AUGUST

SEPTEMBER

OCTOBER

NOVEMBER

DECEMBER

Fig. 28: Lighting Instrument, Concept Sketch

88

The Aesthetics I have found a great inspiration in the historical interpretations of celestial lighting phenomenon,

and in particular the Sun dogs; Their previous usages as navigation tool as well as a folklore nar-

rative of dogs chasing the sun and the moon in an endless cycle.

The aspect of time is quintessential in the diminishing days during winter, where the day activity

and the circadian rhythm is adjusted to the lighting conditions of the seasons. The average mod-

ern man are active from 6:00 to 22:00 - a circadian rhythm which are greatly challenged by the

varying daylight conditions over the year.

Sun Dog

The Sun Dog Lighting concept offers the city dwellers an artificial lighting phenomenon in the

transition between the daytime and nighttime, in order to bring a sense of time, which correspond

to the modern man’s need for active hours. The sun dog is a dynamic lighting phenomenon, which

functions as a lighting clock, reflecting the average active hours of city dwellers. And besides,

offering a visually stimulating experience, inspired by a natural winter phenomenon. The dynamic

of the lighting effect from the sun dogs chasing the moon and the sun, will vary depending on the

time of year (see Digitalization p. 86), creating a slightly different experience every day.

See light test of the lighting instrument and exploration of the lighting effect in motion:

https://youtu.be/_xD_If-qHy8

Light Clock

As the harbour of Copenhagen runs from south to north, the harbourfronts are respectively facing

east and west. This will be utilized as an expanded canvas for a dynamic lighting effect.

The lighting effect will appear in the transition between night and morning on the east side of the

Harbour Ring (where the sun rises) and then again in the transition between twilight and night on

the west side (where the sun sets) (fig. 30,31 p. 92,93).

The Effect

The lighting effect are inspired from a natural lighting phenomenon. In this respect it is important

that the lighting effect is not perceived as too sharp, too even - and lacks a tangible feeling of

light. This tangible sense of light is attempted to obtain (see fig. 29: Illustration Lighting Experi-

ence p. 90-91).

Fig. 29: Illustration Lighting Experience

I.

II.

III.

I.

II.

Fig. 30: Illustration: Morning Sun Dogs at Langebrogade

III.

I.

II.

Fig. 31: Illustration: Evening Sun Dogs at Kalvebod Brygge

Conclusion

7

xx

95

In my master thesis I have sought to investigate the lighting potentials for creating a framework

for outdoor activity during the dark hours of winter.

A sociological study conducted by UIWE, uncovered that inadequate public lighting causes city

dwellers in Copenhagen to experience the dark hours in the winter season as pacifying. The study

concludes, that Copenhageners during winter tend to stay indoor after work hours and decrease

their level of activity.

This constituted my incentive to look into the issues of the current way outdoor urban environ-

ments are planned. My examination of publications concerning urban planning of Copenhagen

uncovered a systematic neglect of the winter as a potential framework for urban life.

I have drawn on Winter City theory by Norman Pressman in order to set a new framework for im-

provement. Pressman’s theory applies a human centric approach to develop the living condition in

areas with northern climate conditions. However, many of the cases illustrating his theory would

regard cities experiencing severe winter conditions not relatable to Danish winter conditions. I

therefore found it necessary to clarify and develop more generic design areas that relates to all

types and levels of the Northern Identity.

Conclusion

How can LIGHTING facilitate outdoor ACTIVITY

during the dark hours of WINTER months?

Problem Statement

96

As a result I developed three Key Enablers: Dynamic, Culture and Stimulation. The Key Enablers

provides a deeper understanding of the concept ‘Winter City’ and constitute cornerstones for

developing attractive and active urban environment for the winter season.

The Key Enablers represent a sub-goal, that fulfills one of the purposes of this thesis: to develop

means to improve winter city lighting.

In addition to the Key Enablers (which accommodated the winter conditions), I have conducted a

qualitative study of a diverse collection of Winter City projects (which applied lighting for activat-

ing city dwellers). The objective was to uncover potentials to create Winter City Lighting which

facilitate active use of urban space. From these potentials, I have derived a set of success criteria

for developing Winter City Lighting that motivates city dwellers to use the urban space.

These three success criteria are in themselves an answer to the problem statement of this master

thesis. And I consider theses success criteria to be generic principles which can be used when

designing and planning Winter City Lighting.

CULTURE

STIMU

lATION

DYNAMICS

WINTER CITYLIGHTING

Key Enablers

Winter City Lighting is arranged along A ROUTE

Winter City Lighting highlight POINTS OF INTEREST

Winter City Lighting is functioning in a MULTI SEASONAL INTERPLAYSuccess Criteria

97

In order to further investigate the subject of this master thesis (Winter City Lighting), I chose a

location to test success criteria (for facilitating outdoor activity) and Key Enablers (for accom-

modating the Nordic Dimension) and answer the problem statement.

The activity- and experience-oriented route the ‘Harbour Ring’, was chosen as a case, and consti-

tuted the urban fabric, on which I have applied Winter City Lighting approach and design.

The subsequent development of concept ideas activated and explored the Key Enablers in order

to generate Winter City Lighting concepts for attractive framework for outdoor activity.

In a subsequent evaluation of the three concept ideas, I chose to further develop on the concept

addressing the most critical premise of winter: the dwindling daylight and overwhelming darkness.

The concept idea thus corresponds directly to the findings in UIWE’s survey of the city dwellers

experience of the public lighting and the winter season as pacifying.

The final Winter City Lighting concept offers an experience of an artificial celestial light phenom-

enon in an interplay with the natural light. A lighting to expand the perception of time and daily

rhythm.

The aesthetic is inspired from the natural light phenomenon Sun Dogs, which lends its ancient

narrative of a dog chasing the moon and the sun, to the function of a light clock in the transi-

tion between day and night. The dynamic movement of the Sun Dogs Light is determined by the

presence of daylight and the modern man’s need for active hours. During winter it will last longer,

during the summer it will appear less and in the high summer it will not appear at all. Sun Dogs

thus constitutes a special experience which increases as the winter approaches.

The intention is to offer a particularly stimulating winter experience that correspond to the dy-

namics of the natural light and offers a more cultural conditioned sense of time. The lighting can

be experienced on a close up ‘point of interest’, or experiences from far range along the route of

the Harbour Ring. The constellation of the Sun Dogs are differing throughout the year due to the

multi seasonal interplay.

98

Bibliography

99

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101

Appendix

102

Winter Severity Index

Weighting Assigned to the Factor and Subfactors Composing the

(Pressman 1995:19)

A: Discomfort Factor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (400 points)

Wind Chill (170 points) Average January wind chill based on mean wind speed and mean daily temperature Length of Winter (115 points) Number of months with a mean daily temperature less than 0 degrees C. Severity of Winter (115 points) Mean daily temperature of the coldest months

C: Psychological Factor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (400 points) Darkness (35 points) Increasing darkness factor with increasing latitude Wet Days (30 points)

Cloudiness (10 points) Average Cloudiness (tenths) during winter: December, January and February

Sunshine (25 points) Total hours of sunshine December, January and February (increasing sunshine factor with decreasing sunshine total)

D: Hazardousness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (100 points)

Strong Winds (43 points) Average speed of the windiest month

Winter Precipitation (57 points) Total monthly precipitation when mean daily temperature is less than 0 degrees C

D: Outdoor Immobility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (100 points)

Fog Days (67 points) Average number of days with fog in winter (December, January and February)

Winter Precipitation (33 points) Total monthly precipitation when mean daily temperature is less than 0 degrees C.

103

Winter Severity Index for Selected Winter Cities(Pressman 1995:20)

Anchorage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Beijing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Calgary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Chicago . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Copenhagen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Detroit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Edmonton . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Harbin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Helsinki . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Irkutsk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Kiev . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

St. Petersburg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Milwaukee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Minsk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Montreal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Moscow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Novosibirsk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Oslo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Québec City . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Reykjavik . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Stockholm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Toronto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

104

1 Heliostat mirrorsRjukan, Norway

The reflectors - known as heliostats - have been designed to trace the movement of the sun and reflect the light directly onto Rjukan’s main square. They are controlled by a computer to follow the path of the sun, adjusting to the best angle to ensure the town square is bathed in light. Solar panels will power equip-ment to automatically wash the mirrors and move them into position. Artist, Martin Andersen, drew up the plans and obtained a funding for a five million Norwegian Kroner (£523,400) to make the idea a reality.“There are three heliostats that have been installed to bring sunlight to the town square as a kind of health project to promote the well-being of people living in the shade.” Previously, residents had to go up a mountain in a specially built cable car in order to see sunlight in the darker months.Inspiration for ‘The Mirror Project’ came from the town of Viganella in northern Italy which already has a system installed.

3 Project Snowcone Winter Station,Toronto, Canada, 2015, by Lily Jeon and Diana Koncan

Toronto’s beaches are eventful and lively during summers. Winters, however, can be quite harsh, leaving them desolated and empty. Raw Design, Ferris + Associates and Curio decided to take matters into their own hands and change the scenery with Winter Stations, an international design competition open to art-ists, designers, architects and landscape architects. The 3/4 inch geodesic metallic structure of the pine cone is anchored to the lifeguard post. It is covered in a skin of translucent acrylic leaves and transparent colored acrylic panels bolted to the exterior. The panels capture the sunlight, turning the cone into a colorful greenhouse. The heat is stored inside as snow fills the translucent leaves, following the same principles of an igloo.

105

3 Impulse, LuminothérapieMontreal, Place des Festivals, 2015/2016, by Lateral Office

The work’s 30 seesaws, producing sound and light as people bounce up and down on them, will turn the Place des Festivals into a vast interactive playground. Fulfilling the mandate to create a unified Lumi-nothérapie concept, as well as a complementary to the large-scale installation, the creative consortium will also produce video projections for the nine permanent projection sites in the Quartier des Spectacles. Two Montreal-based artists will be responsible for the projections: Maotik and Irregular, with soundtracks for the projections and for the Place des Festivals by Toronto-based artist Mitchell Akiyama.Proposals were required to draw inspiration from winter and the specific characteristics of the site. They also had to offer visitors a meaningful sound-and-light experience day or night, be meaningful in both con-tent and artistic approach, and encourage people of all ages to participate.

4 Swing TimeBoston, USA, 2014, by Höweler + Yoon Architecture

These 20 glowing circular swings have been installed to brighten up a patch of Boston parkland and to encourage to play outside the confines of the playground. “We feel that play should not be limited to kids, nor to playgrounds. We had the idea of a playscape in the city that engages people of all ages in active play,” Eric Höweler, co-founder of Höweler + Yoon Architecture. The translucent plastic hoops contain LED lights that respond to activity. A microcontroller and accelerom-eter in each swing chart levels of motion and inclination to inform the colour changes.The basic principle of responsiveness tends to encourage people to interact with the piece and with each other,” Höweler.

106

5 Luminous Pathway Quebec, Canada, by Kanva Architect

The Luminous Pathway in the center of the city is transformed into an illuminated futuristic wheat field created by a multidisciplinary team led by the Kanva architecture firm. Inspired by the wind and by history, the team produced a large-scale urban metaphor for a wheat field in rural Quebec, one made of more than 28,500 plastic rods topped with simple white bicycle reflectors. In the winter wind, bathed in reflected light, the stylized stems sway as they would in a blustery wheat field.Anchored in recycled plastic posts, the stems measuring 3½ to 5-feet-tall are arranged closely together and topped with a simple old-fashioned bicycle reflector that catches the light emitted from overhead col-ored lamps. The colors move with the wind as music plays. When the wind picks up the sound emanating from speakers, hidden at street level, gets louder giving the impression of a moving melody.

6 Capilano Canyon LightsCanyon, USA

Celebration and tourist attraction Canyon Lights seeks annual from November to January to “re-capture the feeling of wonder and excitement of the holiday season”. The suspension bridge, Treetops Adventure, Cliffwalk, the rainforest and canyon are transformed into a world of festive lights and visual installations.

107

7 WOODPILEWinnipeg, Manitoba, Canada, 2011, by

Woodpile was designed as an inner space, defined by four peripheral wall frames in which firewood was stacked. At the middle of the hut, a fire pit keeps the skaters warm. By using firewood as the construction material of the hut, Woodpile serves as a container both for the lighting material as well as for the act of warming. The use of the firewood through time constantly changes the hut’s appearance, which con-ceptually turns from a closed and sheltered space during winter to an open structure by spring time. This change reflects the skater’s use of the hut so that they play the most significant role in its design. Since the hut was to be located directly on the river’s ice, it was designed to be removed and reassembled each year using separate structural elements: four wall frames and a floor and roof components.

8 FreezewayEdmonton, Canada, by Dylan Toymaker

The Freezeway was put together by the city, WinterCity Edmonton, Make Something Edmonton and the Edmonton Speed Skating Association. Light installations designed out of recycled material for new skating path. Original light pieces for outdoor festivals like the Flying Canoe, held every February in the Mill Creek Ravine.Solarpowered lanterns turns on at dusk and staying on until 11.00.physical activity during the long, dark season of our discontent. His creation, a 400-metre, figure-eight skating trail adjacent to the Victoria Park Oval.

108

9 The roof that goes up in smoke Dutchland, 2010, by Overtreders W.

The mobile pavilion can house up to 40 people. It was created for Allerzielen.nu, an event celebrating the festival of All Souls Day, and was installed at three locations. “The roof that goes up in smoke” was the meeting space for art festival Allerzielen.nu, an event celebrating All soul’s day. It consists of two large picnic tables, a floating roof and a wood stove. The inflatable roof is filled with hot air heated by a wood stove, the centrepiece of the pavilion, and provides shelter for the bar and picnic tables below. The roof is illuminated at night, providing light for the picnickers heating chestnuts, jacket potatoes, soup or hot chocolate on the stove. The pavilion houses up to 40 people.

10 Vinter pop-up Frederiksberg, Denmark, 2015, by Platant

On 18 December for the fourth year running the winter solstice were celebrated. This time we celebrated the darkest time in cooperation with Kulturhavn365, Christianshavn neighborhood committees and the Danish Architecture Centre. It is an evening with pancakes at the bonfires and music.

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11 Traveling SunIstad Pacini ArtLab

The SUN is a circular light sculpture, three meters in diameter, that shifts between a range of warm colors, pink, red, yellow, white and back again. The light sculpture is constructed of an aluminum frame and PVC canvas that covers the frame. LED’s chains on the inside of the sculpture, and LED strips on the back of the object that gives the SUN a halo effect when hung on a flat surface. It has one plug that plugs into any normal electric socket.The SUN traveled on an eight day voyage on the coastal liner from Tromsø to Kirkenes to Bergen. “For those of us living in the north, the sun or lack of it has an immense impact on our lives. We wanted to bring the SUN from Oslo to Tromsø as a gesture. To take The SUN on the road trip was an essential part of the work. By documenting the trip on our blog, we allow viewers to share the trip with us.”

12 The Talking Lamp Mamlö, Sweden, from 2006

All year, the Talking Lamp makes its home in the town squares of Malmö. But despite its travels, it always returns to Lilla Torg Square before Christmas, and locals and visitors alike count on its steadiness for a hol-iday visit to the public work of art. Amidst the snow and darkness of Lilla Torg Square, the lamp provides a calming glow, beckoning families to hear its message since its creation in 2006 This art project, and tourist attraction, is in the Swedish city of Malmö, just across the bridge from Co-penhagen, Denmark. It is know as the Giant Lamp of Lilla Torg Square, and has been in place since 2006. It stands 5.8 meters high, and its foot acts as a bench so passers-by can sit and relax under its soothing glow.

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13 Environment Friendly Hand torches For the demonstration, torch procession

A demonstration or street protest is action by a mass group or collection of groups of people in favor of a political or other cause; it normally consists of walking in a mass march formation and either beginning with or meeting at a designated endpoint, or rally, to hear speakersLight for visilbility and symbolic protest

14 Fireworks

Fireworks are a class of low explosive pyrotechnic devices used for aesthetic and entertainment purposes. The most common use of a firework is as part of a fireworks display. A fireworks event (also called a fireworks show or pyrotechnics) is a display of the effects produced by firework devices. Fireworks compe-titions are also regularly held at a number of places. Fireworks (devices) take many forms to produce the four primary effects: noise, light, smoke, and floating materials (confetti for example). They may be de-signed to burn with colored flames and sparks including red, orange, yellow, green, blue, purple, and silver. Displays are common throughout the world and are the focal point of many cultural and religious celebra-tions.

Albert Einstein(1917) Quoted in Sidney Perkowitz, Empire of Light (1999), 69.

“For the rest of my life I will reflect on

what light is.“

WINTER CITY LIGHTING - Aalborg Universitet · lighting design that will contribute to raise the...

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