Guiding Light

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1

IN

DEGREE PROJECT ARCHITECTURE, SECOND CYCLE, 15 CREDITS

,

STOCKHOLM SWEDEN 2021

Guiding Light

Balancing fluidity and orientation TOMA SOVA

KTH ROYAL INSTITUTE OF TECHNOLOGY

SCHOOL OF ARCHITECTURE AND THE BUILT ENVIRONMENT A case study on the KTH Architecture building in lighting as a wayfinding tool

IN

,

Guiding Light

Balancing fluidity and orientation TOMA SOVA

TRITA TRITA-ABE-MBT- 21140

www.kth.se

IN

,

Guiding Light

Balancing fluidity and orientation TOMA SOVA

KTH ROYAL INSTITUTE OF TECHNOLOGY

SCHOOL OF ARCHITECTURE AND THE BUILT ENVIRONMENT

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1-Arthur, P. and Passini, R., 2002. Wayfinding.

Oakville, Ont.: Focus, p.23.

4-GmbH, c., 2021. contagt Indoor Navigation - The Smart Indoorguide. [online] contagt - The Smart Indoorguide. Available at: <https://

contagt.com/en/faq/#navigation-en> [Accessed 25 April 2021].

5-the Guardian. 2021. Carbuncle Cup: Walkie Talkie wins prize for worst building of the year. [online] Available at: <https://www.

theguardian.com/artanddesign/architecture- design-blog/2015/sep/02/walkie-talkie- london-wins-carbuncle-cup-worst-building- of-year> [Accessed 20 April 2021].

6-Psychology Today. 2021. How Humans Learn:

Lessons from the Sea Squirt. [online]

Available at: <https://www.psychologytoday.

com/gb/blog/choke/201207/how-humans-learn- lessons-the-sea-squirt> [Accessed 25 April 2021].

7-Binswanger, L., 1963. Being-In- The-World; Selected Papers of Ludwig Binswanger. Translated and With a Critical Introd. to His Existential Psychoanalysis by Jacob Needleman. New York, Basic Books, p.114.

8-Swanson, L., 2004. Brain maps III.

Amsterdam: Elsevier, Academic Press.9-Pollen, A., 1999. On the Neural Correlates of Visual Perception, Cerebral Cortex, Volume 9, Issue 1, , Pages 4–19, https://doi.org/10.1093/cercor/9.1.4

10-Boss, M., 1963. Psychoanalysis and daseinsanalysis. New York: Basic Books.11-Hamlyn, D., 2017. The Psychology of

Perception. London: Taylor and Francis.12-Arthur, P. and Passini, R., 2002.

Wayfinding. Oakville, Ont.: Focus.

13-Arthur, P. and Passini, R., 2002.

Wayfinding. Oakville, Ont.: Focus.

Wayfinding. Oakville, Ont.: Focus, p.5.15-Arthur, P. and Passini, R., 2002.

Wayfinding. Oakville, Ont.: Focus, p.23.

Wayfinding. Oakville, Ont.: Focus, p.25.

17-Lynch, K., 1960. The image of the city.

Cambridge, Massachusetts: The M.I.T.

Press.

18-Lynch, K., 1960. The image of the city.

Cambridge, Massachusetts: The M.I.T.

Press.19-Ejhed, J., 2021. QUALITY OF LIGHT. V/P – Lighting Theory, KTH Lighting Laboratory, Stockholm[Lecture]

20-Thamvidegard.se. 2021. KTH School of Architecture – Tham & Videgård.

[online] Available at: <https://www.

thamvidegard.se/work/public/kth-school- of-architecture/> [Accessed 23 April 2021].

21-Thamvidegard.se. 2021. KTH School of Architecture – Tham & Videgård.

[online] Available at: <https://www.

thamvidegard.se/work/public/kth-school- of-architecture/> [Accessed 23 April

2021]. 22-Miljöbyggnad 3.0. [ebook], 2020.

Stockholm: Sweden Green Building Council.

Available at: <https://www.sgbc.se/app/

uploads/2018/07/Milj%C3%B6byggnad-3.0- Nyproduktion-vers-170915.pdf> [Accessed 4 June 2021].

23-Miri, M., 2021. Daylight metrics, KTH Stockholm[Lecture]

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Content

0. Content 1. Abstract 2. Introduction 3. Methodology

4. Literature Review 4.1 Human Cognition

4.1.1 Phenomenological-existential lens Medard Boss, Ludwing Binswanger 4.1.2 Gestalt theory of perception 4.2 Wayfinding Principles

Paul Arthur, Romedi Passini

4.3 Lighting as a wayfinding tool - V/P Theory 5. Context analysis

5.1 Spatial analysis

5.1.1 Orientation objectives

5.1.2 Orientation tools - views, key perspectives 5.1.3 Space apprehension zones - materials

5.2 Empirical data collection

5.2.1 On-site questionnaire - visual clues 5.2.2 Observations and users statements

5.3 Lighting Analysis 5.3.1 Daylight

5.3.2 Artificial Lighting 6. Design Considerations

7. Concept Design

8. Results + Discussion 9. Conclusions

10. References, Figure list 11. Annex

3 4 5 6 7 8 9 10 11 1214 1515 19 2121 23 2424 26 27 29 35 38 38 42

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1 ^.Abstract

The intention of this document is to explore the potential of lighting design to work as an orientation tool in relatively large-scale buildings, where users lack the environmental clues needed to create effective cognitive maps.

Cognitive mapping is the process of mental structuring of an overall image or representation of the spaces and layout of a setting, for the purpose of wayfinding.

The motivation of this thesis comes from observing the frustration experienced by students using the KTH Architecture building, documented through an empirical study and interviews.

Literature review of human apprehension of spatial evidence that enable individuals to orient in the world is used to define the underlying structure for the design intervention.

Understanding human cognition from an existential- phenomenological perspective through the work of Medard Boss and Ludwing Binswanger, together with the technical understanding of the objective fabric of the environment present in wayfinding literature are used to account for the lighting intervention on a studio floor from the KTH Architecture building.

The thesis intention is to understand what architectural elements humans use to create a mental map for decision making when moving trough space, and use lighting rather than signage to accentuate, articulate and complement necessary architectural features for the process.

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Architecture, generally speaking, can be thought of as sitting at the border between exact sciences and art. It is a mix of the objective world – how brick meets brick or what is the U-value of the envelope, and the behavioural world – how do humans perceive it and manifest themselves within it.

Within large complex environments such hospitals, libraries, airports or offices people tend to have problems in finding their way around. The two main sources of this problem are lack of spatial cognitive abilities, or the architecture that does consider human need for effective spatial orientation.

(Arthur & Passini 2002, p.23) Wayfinding is the process of using visual information to find one’s way in complex environments.

Creating what can be thought of as an ‘inhabitable sculpture’

becomes sometimes the blinding focus of the architect, leaving the eye-level experience of a user moving through the building as a lesser priority. The benefit of such an approach – the beautiful large-scale sculpture – comes at the cost of human experience or the environment around. Examples such as the 20 Fenchurch Street Building in London nicknamed

‘Walkie Talkie’ because of its shape which has melted cars and caused winds strong enough to knock people over. (Wainwright 2015)

Moving through the territory we inhabit seems to be the base of the evolution of the brain.

Evidence for this stands the sea squirt, animal with neural structures for the first part of its life, structures that get absorbed as soon as the creature

finds a stable place to settle. It could be said therefore that the reason we developed our brains and consequent capacity to perceive is for movement and exploration.

(Psychology Today 2021)

Paul Arthur recounts the story a friend architect told him about an exquisite piece of architecture in Montreal. An aesthetically hyper successful commercial complex held in high regard by the profession, with multiple awards and publications, was chosen as the worst building in the city by the public audience of the architect. They considered it so due to how hard or close to impossible it was to find your way around. The development was not financially sustainable as people would not go there, and even after an extensive signage campaign to make the place navigable didn’t help resulting in the building being demolished.

Architecture that explores with unfamiliar shapes and patterns makes this new territory harder to explore and comprehend.

Companies such as Contagt are using this problem as the base of their services. They identified 5 main features of buildings that makes them confusing: when everything looks the same, if there’s navigation between levels, insufficient or unsatisfactory visual connection to the outdoors, counter-intuitive routes, and curves and angles in the layout (contagt Indoor Navigation 2021)

This thesis treats the problem of wayfinding within a studio floor of the KTH architecture building by enhancing its architecture through lighting, rather than signage.

2 .Introduction

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Buildings with a relatively high degree of complexity, i.e with navigation between more levels, large in size and with a range of different functions, are often challenging in terms orientation for users.

The purpose of this thesis is to investigate the potential of lighting design, rather than signage, to work as an orienting tool in such buildings.

The investigation will be concluded with a lighting design proposal, based on the structuring of the perceived environment for the purpose of facilitating cognitive mapping. The intervention will be located at the fourth studio floor of the KTH architecture building.

The thesis is structured in three steps.

Firstly, literature review on human cognition from an existential- phenomenological perspective through the work of Medard Boss and Ludwing Binswanger is used as the base of understanding how and why people move through the world (Binswanger 1963) (Boss 1982)

The Gestalt theory of perception offers the necessary framework for

analysing the context.(Hamlyn 2017)

Alongside this, understanding the objective fabric of the environment is done by considering wayfinding literature. This is used to determine the architectural elements that the lighting design will need to structure. (Ejhed 2020)

Visual Perception theory for lighting offers a vocabulary for describing the qualities of light.

(Arthur & Passini 2002)

Secondly, the context of the site chosen for the installation -the working/drawing floor in the Architecture school of KTH- is analysed threefold: considering the spatial characteristics (i.e functions and potential orienting goals), collecting empirical data through posters/questionnaires placed in strategic locations, and analysing and understanding the current lighting condition in relation to wayfinding.

The final part of this thesis consists of applying the first two points in a conceptual lighting design intervention, followed by a discussion analysing the expected effect of the proposal on wayfinding.

3 .Methodology

Human cognition

Conceptual proposal

Spatial analysis Literature review

Lighting proposal

Context analysis

Wayfinding Empirical data

Lighting as information giver

Discussion

Current lighting condition

Fig. 1. Method map

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4 .Literature review

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2 3

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present

future g oal

past

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3

1

2 3

1

present

future g oal

past

Human cognition Gestalt theory of perception (Hamlyn 2017)

Phenomenological-existential lens (Binswanger 1963) (Boss 1982)

Visual Perception Theory (Ejhed 2020)

1. Spatial positioning (within a setting) 2. Destination identification (within a setting) 3. Form and execute plan of action

Wayfinding principles (Arthur & Passini 2002)

Lighting as an orientation tool

Fig. 2. Literature review map

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The work of Medard Boss and Ludwing Binswanger expanding on thinkers like Sartre and Heidegger, propose understanding the interaction between subject (user) and object (environment) in the context of the ‘dasein’:

being in the world, where the manifestation of the objective world translates ‘first and foremost,(into) … meanings’.

(Binswanger 1963, p.114)

The approach considers any present interaction in the larger context of time. An object is not merely an object, it is whatever the past meaningful representations the subject might have of the object, combined with what the future goal of the subject is in relation to the object, resulting on the complexity of the current interaction.

Their understanding appears to have been partly substantiated with neurological proof,study on rats’ brains showcasing the neurological hierarchical structures that make for visual representations. (Swanson 2004).

Daniel A. Pollen in his paper On the Neural Correlates of Visual Perception points that when the brain is creating a representation of the viewed object, the input that produces this image is partly retinally derived, and partly coming from deeper neural structures within the brain.

(Pollen 1999)

The present meaning associated with our appraisal of the environment is moderated by both past and future. The past contains all the interactions manifested before with the same object or with similar objects, and the future consists of the goal the subject might have. Therefore a door is a mean to pass through when the goal is to move into another space, and it is just an element

that presents this potential when merely perceived.

The objective world manifesting firstly as meanings, an example could be when seeing something that looks alike with a snake, what we see is not a legless crawling creature, we see danger, to which we instantly react by getting away to safety.

In the interaction with, lets say, a door, the Dasein analysis of the subject perceiving this door considers the past, where the subject has gone through doors multiple times having it mentally represented as a tool to move from one space to another, then the subject’s goal, whether that door leads to a better place or desired location, resulting in the complete current ‘Being- in-the-world’ of the subject in front of an object.

The example Boss uses to help people understand this is that there are thousands of different types of common tables, but they all are of the same type of existence because they are all fundamentally labelled as a ‘table’.(Boss 1982) The author describes the process of perception as follows: an

‘indefinite something’, in this case, a yellow house, sends light rays to the retina of the observer.

The excitations from the retina reach upper regions in the brain as sensory perceptions. The next step is for this registered sensory perceptions to be translated on the basis of memory traces into what is perceived to be a house.

The concept of ‘Dasein’, as Heidegger considers it, could be interpreted as the subject in space and time, where the world is experienced through what the subject is doing. This means that in interacting with the world we see things that are useful to us.

4.1 Human Cognition

4.1.1 Phenomenological-existential lens

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Gestalt (German for ‘shape’) perceptual theory is claims that our perception of the manifestations of elements in the world does not come as a summation of its individual components, rather as whole. Our appraisal of a phenomenon tends towards the lowest resolution representation in order to understand it as quickly and efficiently as possible.

(Hamlyn 2017)

Gestalt psychology set of principles stem from the presupposition that the whole is different than the sum of its individual parts.

1. Law of similarity

Things with alike characteristics tend to appear grouped together. Seeing groups of similar elements is a quicker representation than understanding each individual element.

2. Law of “good figure”

Pragnanz(good figure) indicates that objects in the environment are seen as the simplest shape possible. The immediate understanding of a figure is of the closest similar element in our past experiencing in the world.

For example seeing a cluster of clouds looking like a face, rather than a congregate of gases.

3. Law of continuity

Points or shapes that seem to follow a straight or curvy line are perceived as a unitary path, rather than the individual series of elements that forms it.

4. Law of closure

Elements that appear to form a unitary element are grouped together in our perception. Our brain ignores the gaps, creating the representation of a rectangle, rather than a grouping of lines

5. Law of proximity

Things that are close together to appear to have a link compared to things that are further apart.

6. Law of common region

Objects situated in the same defined area are perceived as being part of the same group

4.1.2 Gestalt theory of perception

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10 4.2 Wayfinding principles

Wayfinding is the art of using landmarks, signage, pathways, and environmental cues to help first time visitors navigate and experience a site without confusion.(Arthur &

Passini 2002)

Paul Arthur and Romedi Passini in ‘Wayfinding – People, Signs and Architecture’ comprehensively synthesised and analysed wayfinding principles. The authors consider that wayfinding problems can occur when either the subject is particularly inept at orienting in space or when the information available to be processed in the environment is either insufficient or unclear. However, they believe that architecture is meant for the average user, not a super user which would be highly capable at orienting.(Ibid., p.5)

People need to perceive and understand the environment, situate themselves in space, and then be able to process information for decision making.

When attempting to resolve the issue of people getting lost, the most common response of people administrating the building was to put up signs, which, more often than not, prove inefficient for a variety of reasons.

Spatial orientation is the process of creating a sufficiently suitable cognitive map of a location, complemented by the ability to situate oneself within this representation.

Cognitive mapping is defined as the mental structuring process of an overall mental image or representation of the spaces and the layout of a setting. The capacity to create such mental maps is at the base of spatial orienting.

The authors view orienting as spatial problem solving, comprised of the capacity for decision making, decision executing and information processing.(Ibid.

p.23)

The process of moving through space can be broken down into three steps:

1.Determine one’s location in a setting

2.Determine that one’s destination is within the setting

3.Form and execute a plan of action that takes one to the destination.

Kevin Lynch’s theory is based on the ways people orient themselves in cities, arguing that we create our own ‘mental map’ - closely related to the concept of cognitive map.

(Lynch 1960) He groups structures city images into elements that are clearly recognisable, on the basis of which the map representations are created. His 5 elements can be understood in the context large building:

Path - Corridor

Edge - Space delimitation/wall District - large space distinguishable as a unitary entity

Nodes - Cluster of corridors

Landmarks - Distinct memorable elements (could be inside, or viewed outside)

Lynch also structures the qualities of form, closely related to the Gestalt principles. (Ibid.)

Singularity or Differentiation - referring to how distinct an element can be for ease of recognition

Dominance - element that stands out through size/shape

Continuity - harmonious sequences of similar characteristics.

Clarity of joint - obvious relation between routes/paths

Form simplicity - easily recognisable shapes

Motion awareness - understanding the dynamism of space

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4.3 Lighting as a wayfinding tool - V/P Theory

For understanding the manifestation of lighting in the context of wayfinding it is useful to select the important qualities or quantities describing light that have an influence on orienting.

Using Kevin Lynch’s quality of form to structure the ease of comprehension of space and linking appropriate lighting quality to them, can offer a tool to understand what characteristics of light are helpful in wayfinding.

Singularity or Differentiation - referring to how distinct an element can be for ease of recognition

Dominance - element that stands out through size/shape

Continuity - harmonious sequences of similar characteristics.

Clarity of joint - obvious relation between routes/paths

Form simplicity - easily recognisable shapes

Motion awareness - understanding the dynamism of space

Jan Ejhed’ Visual/Perceptual theory is a tool developed by to establish a vocabulary to describe light qualities(Ejhed 2021):

• Level of Light (how bright or dark)

• Spatial distribution of Light(how uniform or dramatic)

• Glare(how disturbing light sources or reflections can be)

• Shadows(charachter of shadows)

• Reflections(crisp or diffuse reflections)

• Colour tones of Light

• Colour (of objects and surfaces) Associating lighting qualities to the qualities of form:

Singularity or Differentiation - Distribution of light

Dominance - Distribution of light, Glare

Clarity of joint - Level of light

Form simplicity - Distribution of light, Shadows

Motion awareness - Level of light, Spatial distribution of light

Illuminance (E) lux

Uniformity (U) Emin / Eave Glare (UGR) fact.13-16-19-22 Luminance (L) cd/m2

Luminance (L) cd/m2

Colour temp (CCT) Kelvin (K) Colour rend (CRI) factor 1-100 Analogous photometric measurements

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5 .Context analysis

Stockholm East Station

N

School of Architecture Royal Institute of Technology

KTH Library

Tham and Videgård’s architecture building for KTH is a multiple prize winner building, amongst which Stockholm Building of the Year – 2016, AIT award 2018, and others. It was designed based on ideas like free movement through campus, featuring a connection with the historical 20th century brick buildings designed by Erik Lallerstedt. The interior was intended as a free flow space, where the fluidity enhances the feeling of openness, in contrast to a closed- by-walls space.(Thamvidegard.se 2021)

The school’s main access is on the south side from Osquars Backe, with a secondary access from a sunken courtyard in the North-West.

Corten curvy facades with large openings of glass offers generous amounts of light on the inside.

The building has 6 floors, with an underground floor for a technical room. From within the building, up to the 4th floor, the views are dominated by brick buildings, the KTH Entre to the South-West, the KTH Library to the North, and the School of Electrical Engineering and Computer Science towards East.

On the fifth and sixth floor, views open towards the city in the South, and the Northern part of the campus.

Fig. 3. View from main access

Fig. 4. Architecture school site plan

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Fig. 5. Ground floor - access to upper floors

Fig. 6. Section through school and KTH Entre

Fig. 7. Facade towards South West

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The ground floor hosts double height spaces including lecture halls, exhibition space, as well as a workshop with access to the courtyard towards the west of the building. Access towards the upper floors is made through two oval shaped cores, containing stairs and elevator. Third, fourth and fifth floor are studio spaces for students, and the sixth floor contains a large office and access to an outdoor roof terrace.

chosen site for intervention

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The investigation was performed on the fourth floor in the KTH architecture building, a designated studio space for the students.

The main function constitutes the working/ desk area, laid out towards the exterior, taking advantage of daylight. The floor offers a range of facilities, as displayed on the list in Fig.8, all sitting in the two cores. The layout, as claimed by the architects(Thamvidegard.

se 2021), is intended as a free flow space, where the fluidity enhances the feeling of openness, in contrast to a closed-by-walls space.

The space will be analysed in the framework of the 3 wayfinding principles points:

1

.Determine one’s location in a setting.

2

.Determine that the

destination is within the setting.

3

.Form a plan of action and execute it.

Knowing the functions available on the floor will therefore achieve point two for performing spatial orientation tasks.

5.1 Spatial analysis

Seminar / group rooms Toilets

Computer room Access/Exit

Printer room

Model making room Kitchen

Desk area

Printer room Model making room Kitchen

Desk area

Fig. 8. Facilities available on studio floor

Access/Exit Desk Area Kitchen Toilets

Computer Room Printer room Model making room Seminar/group rooms

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Fig. 9. Orientation objectives

5.1.1 Orientation objectives

Students working in the studio floor are usually spending most of the day on a working desk.

If aware that the desired destination is within the setting (point 2), the next step is creating a plan of action. This plan of action is based on the orientation tools available for processing.

Throughout the day, the typical spatial orientation tasks are:

Hierarchically the orientation tasks likely to be performed are as follows:

1.Main access - working desk and back

2.Working desk - kitchen and back3.Working desk - toilet and back4.Working desk - computer room/printer/model making/seminar room.

5.1.2 Orientation tools - views, key perspectives Interior clues

The clues available for users to situate themselves in space include both indoor views and outdoor views. Fig. 10. showcases the main identifiable cognitive mapping elements available on the interior. These elements present higher degree of differentiation, according to Kevin Lynch’s quality of form.

Breaking down the constituents of the layout in terms of elements that students use to form a plan of action, the floor is composed as follows:

A main ‘path’ - corridor around the cores

Two ‘edges’ - outer glazed facade, and the walls of the cores delimiting the desk are

Two ‘nodes’ - each end of the narrow corridor between the cores.

‘Districts’ - the two cores

‘Landmarks’ interior: the thin corridor in the centre

‘Landmarks’ for the exterior:

courtyard and the towers towards north west, and the cylindrical brick volume south east by the main entrance.

The two cores have similar characteristics, therefore it might prove hard to distinguish between the two: both have two exits, both are clad with vertical wood planks and contain a series of doors and closets.

The other orientation elements could be considered the access/

exits to the staircase and elevator.

Desk area

Desk area Access/Exit

Kitchen Toilets

Computer Room Printer room Model making room Seminar/group rooms

Desk Area ¹

2 3

4

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Corridor between cores

B A C

D

E

Access/Exit

Node Landmark

Landmark Landmark

Edge Path

Building cores

B A C

D

E

Access/Exit

Node Landmark

Landmark Landmark

Edge Path

Building cores

Fig. 10. Main individually identifiable landmarks - interior

Fig. 11. B, C - Views towards the two cores

Fig. 12. D,E - Views towards two of the exits

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B A C

D

E

Access/Exit

Node Landmark

Landmark Landmark

Edge Path

Building cores

Outdoor clues

Fig. 13. A - Views towards two of the central corridor

Fig. 14. Outdoor landmarks

The outdoor visual clues help students situate themselves in the setting, as well as form a plan of action. However, specifically for the two lower studio floors, i.e the third and fourth floor, the outdoor views don’t have a high degree of differentiation.

Views in all directions are either façades (3rd floor), or façades with part of a roof(4th floor, the one studied). Identifying each facade requires high familiarity with neighbouring buildings, or careful attention to the proximity of the facade.

Most distinguishable elements views contain the ‘landmarks’ mentioned:

the courtyard(1) and the towers(2) towards north east, or the cylindrical volume(3) by the main entrance.

1. Courtyard 2. Towers

3. Cylindrical volume

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Fig. 15. Cylinder volume by main entrance

Fig. 16. Towers and courtyard

Fig. 17. Comparing representative views in all directions

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5.1.3 Space apprehension zones - materials

-plan with expected orienting goals (key objectives between A-B)

Zone B Zone C

Computer room Access/Exit Printer room

Model making room Zone A

Space apprehension zone refers to areas within the setting where the potential views have very low degree of differentiation.

The plan below structures these zones focused mainly on orienting clues from the interior. Each zone has representative general characteristics. This translates into users finding it hard to determine if they’re in the southern or northern side of zone A, or east or west of zone B.

If taking into account outdoor views, as empirical data collected suggests, there are points where situating in space is much easier.

Zone A - Working desks

Concrete/timber/glass Both cores visible Brick facades views Central corridor Zone B - Working desks

Concrete/timber/glass 1 core visible

No central corridor Zone C - Section of working

area

Brick facade towards end

Timber/concrete/timber

Fig. 18. Apprehension zones plan

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Zone B Zone C

Zone A

Zone B Zone C

Zone A

Zone B Zone C

Zone A

Fig. 19. Typical view zone A

Fig. 20. Typical view zone B

Fig. 21. Typical view zone C

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5.2 Empirical data collection

5.2.1 On-site questionnaire - visual clues In order to understand

how users of the building find the building in terms of orientation, data collection was performed using posters with simple questions around the school.

The participants are architecture students choosing to work in the

studios. Although students usually have a fixed desk throughout the year, due to the pandemic global situation using the building was done based on booking a location.

The questions could be answered using colour coded stickers. For example, a question like ‘Do you usually find the closest route from your desk to the toilet’ could be answered by with a green sticker for yes, and a red sticker for no.Data was collected for two weeks since 6pm Wednesday 14th April 2020 until 27th of April, being collected around the same time. Each poster included clear specification for users to only answer once.

This however cannot be guaranteed as there was no way to verify.

The posters were placed in strategic locations, so as to be able to interpret the answers in the context of the available visual clues when sitting in front

of the poster. _{Fig. 22.} Sample posters placed in the staircase by the elevator and in the printer room

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P1

P11

P12 P13

B1

B2 P10

P8 P7

P6 P5

P4

P3 P2

P1 P2 P3

P4 P5 P6 P7 P8 P10 P11 P12

P13 B1 B2

Do you know what floor you’re on right now?

- YES/NO

Where is the closest toilet?

- LEFT/RIGHT/DON’T KNOW

Can you find the printer room with ease?

- YES/NO

How long until you found out there was a printer room on this floor?

- 1WEEK/ 1WEEK-1MONTH />1MONTH

Did you know there was also a model making room on this floor?

- YES/NO

Where is the closest kitchen?

- LEFT/RIGHT/DON’T KNOW Where is the closest exit?

- LEFT/RIGHT/DON’T KNOW Did you find the kitchen easily?

- YES/NO

Where is the closest printer room?

- LEFT/RIGHT/DON’T KNOW Where is the closest toilet?

- LEFT/RIGHT/DON’T KNOW Where is the closest exit?

- LEFT/RIGHT/DON’T KNOW Where is the closest printer room?

- LEFT/RIGHT/DON’T KNOW

Do you usually take the shorter route from your desk to the toilet?

- YES/NO

How long until you stopped going to the basement for the toilet?

- 1WEEK/ 1WEEK-1MONTH />1MONTH Do you know what floor you’re on right now?

- YES/NO

Can you draw one arrow towards the main entrance in this building?

- PART OF PLAN + PEN -/-

Fig. 23. Posters and apprehension zones

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5.2.2 Observations and user statements Results

Interviewing students using the building, it appears that the fourth floor is more confusing than the fifth floor, claiming that the outside views on the fifth are a lot more different (view towards the city in the south, and a red tiles roof on the left) making it easy for them to situate themselves in space.

Minimalistic signage is not

helpful in finding some facilities such as kitchen, computer room or printing room.

Wayfinding became much more difficult due to the pandemic global situation, as students use the studio on a booking basis.

This means using a new desk every day, needing to almost start from scratch in terms of orientation when moving around the floor.

The amount of answers for the posters seem to be overwhelmingly large for the questions placed within the cores. A noticeable large difference was recorded for the two similar posters within the staircase, asking whether users know on what floor they are.

Negative 77% compared to negative 50%, as well as triple the answers, suggests that the core likely to be less used for reaching the studio floors(i.e the one further from the main entrance) is where students have more problems situating themselves in space vertically.

Questions regarding how easy facilities are to be found within the cores show that amongst the students that answered, more than 60% of them are struggling to find these spaces. Their answers also

show that a part of them did not even know of the existence of these facilities on the floor.

Within apprehension zone A, where all the interior landmarks are visible, the amount of answers was very small. About half of the answers were right, a quarter wrong, and a quarter answered don’t know. This could suggest that the answers were given by students engaged in finding the specific facility the question was about.

Asking about the direction of the main entrance shows that the box 1, placed where there was visual contact towards the outdoors landmarks(the cylindrical volume by the main entrance) rather than just a facade(box 2), resulted in 100% right to 50% right.

Zone B Zone C

Zone A

Zone B Zone C

Zone A

Zone B Zone C

Zone A

P2 P7 P8 P11 B2

B1 P4 P10

P5 P12

P1 P3 P6 P13 1060%NO

2366%N 1-3-3

3877%NO 1250%NO

2554%NO 5-2-5 880%R

20%DN

4100%

366%L 33%DN 8100%ok

450%ok 540%R

60%DN

366%R 33%L

560%R 40%L 6100%

Cores

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The building is fitted with large openings intended to allow 360 views, gaining plentiful daylight in. In the case of wayfinding, the difference in weather can play a role, as sunny days could potentially offer a certain degree of differentiation, considering only the south east, south and south west areas would have direct sunlight. However, when considering the dynamism of the sun, it is not clear weather the light coming from the sun can be used as an orientation cue.

The building overpasses Miljöbyggnad’s Gold standard

(Miljöbyggnad 2020) with an average daylight factor of 7%

under an overcast sky.

Under these conditions the illuminance levels on the desk area are between 300 and 2000 lux, considering useful daylight illuminance is between 100 and 3000 lux(Miri 2021). Areas having access to direct sunlight however go well above the upper threshold, creating visual discomfort. This is tackled by using rolling blinds, that partly deal with the high amount of light.

5.3 Lighting Analysis

5.3.1 Daylight

Fig. 24. Architecture school viewed from courtyard

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Fig. 25. Illuminance levels under CIE overcast sky

Fig. 26. Daylight factor - Relux

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5.3.2 Artificial lighting

The artificial lighting setup creates uniform comfortable light throughout the working area

There are mainly two types of light sources - linear pendant luminaires and recessed ceiling luminaires.

Using the V/P theory to alysing the quality of light, the following conclusions can be drawn.

-Level of light - Bright in desk areas, dimmer in central corridor

-Spatial distribution of light - very uniform distribution

-Glare - Reflection of pendant luminaires in screens

-Shadows - Soft

-Colour tone of light - Cold -Colour (objects, surfaces)- Mainly warm

These aspects can now be correlated to the quality of form:

Singularity or Differentiation - uniform distribution making for low differentiation

Dominance - no highly dominant objects, Glare from luminaires

making light sources pop-out

Clarity of joint - high brightness

Form simplicity - uniform distribution combined with uniformity of shapes(curves), and soft shadows - detrimental for differentiation.

PRODUCED BY AN AUTODESK STUDENT VERSION

Linear pendant luminaire Recessed ceiling luminaires

Fig. 27. Placement of artificial lighting Fig. 28. Artificial lights, blinds off

Fig. 29. Artificial light, blinds on

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Linear pendant luminaire Recessed ceiling luminaires

6 .Design considerations

Obective + Vision

The final objective of this document is to attempt to use minimal lighting design intervention to resolve identified orientation problems by emphasizing architectural elements potential of being used as orientation clues.

Enabling interactions with the environment in the context of the Dasein will be carried out by establishing subtle yet meaningful associations with objects in space, associations that will moderate the process of wayfinding:

for example, differentiating the core volumes while offering a hint of the type of functions it might have, has the potential of improving cognitive mapping.

Kevin Lynch’s quality of form applied to an indoor context is offering a framework to understand why a ‘path’ or an

‘edge’, etc. is or not helpful to create an effective mental map (cognitive map). Lynch’s urban 5 elements can be thought of as an

adaptation of the Gestalt theory for a built environment, which in turn was adapted for an interior environment. The spatial analysis section identified such elements qualities and shortcomings, and the design will attempt to build on that.

Design decisions will be taken having in mind wayfinding principles. What would the intervention do augment the capacity of users to:

1.Determine one’s location in a setting

2.Determine that their destination is within the setting

3.Form and execute a plan of action that takes them to the destination.

The intervention will utilise the qualities and shortcomings of lighting within the floor, both artificial and daylight, as opportunities to intervene for the purpose of improving wayfinding.

Possible adjustments Lighting

Alternative shading south Thin corridor accentuate

Accentuate important spaces Resolve glare from luminaires

Visual clues - wayfinding Individualise cores

Focus/draw attention towards outdoor clues

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Differences Premise

The table above (Fig. 31.) presents the similarities and differences when perceiving the environment. The high similarity between the pair sides of zones A or B is one of the reasons for wayfinding being problematic.

Therefore the approach for the installation will be to maximise the differences between these, in order to enable users to determine their location within the setting.

As observed in the lighting

analysis section, the main problems with the current lighting situation consist of very high illuminance levels from daylight in sunny days, which is currently resolved with roller blinds system, and linear pendant luminaires creating glare in screens.

A final aspect to keep in mind is the fact that some of the spaces within the cores are hard to find or notice.

Similar features between sides of each zone

-view towards thin corridor -brick facades outdoors -both cores visible

N/S side W/E side N/S side

-N side shorter desk area -S side direct sunlight

-1 core visible

-outdoor brick facades

-no view towards thin corridor

-view towards brick cylinder volume E

-view towards courtyard/towers -between the two cores

-brick facades N/S -desks at both ends

-toilets side/pc room side

-facades all brick+windows vs brick+orange paint+windows

Zone B Zone C

Zone A

Zone B Zone C

Zone A

Zone B Zone C

Zone A

Zone B

Zone C

Computer room

Access/Exit Printer room

Model making room

Kitchen Zone A

N

S

E

W

Fig. 30. Similarities and differences between apprehension zones

Fig. 31. Apprehension zones

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7 .Concept design

1. Emphasizing outdoor landmarks

The proposed interventions are based around two main aspects.

Firstly, to accentuate the differences between the pair sides of each zones. While alternative shading for the south facade was considered, such an intervention would have too large of an impact on the overall aesthetics of the space. The tools to accentuate differences between areas are:

One glazed unit towards south east (main entrance) and one glazed unit towards north west(courtyard) is proposed to be partly covered in a way as to

partly frame the view towards the outdoor landmarks - cylindrical volume by the entrance stairs, and towers with courtyard.

Small shading device for each linear luminaire will deal with screen reflections throughout the floor. The shading devices towards North and North east will be equipped with a reflector + pattern projecting filter, to individualise the cores.

Secondly, making the ‘hidden’

facilities be easier to find, small accent lighting will make it more noticeable.

Location of shading panels

Fig. 32. Shading panels placement

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Fig. 33. Existing view S-E

Fig. 35. Existing view NW

Fig. 34. Proposed S-E

Fig. 36. Proposed N-W

Towards South-East two fabric shading panels on a wooden frame opens and focuses the view towards the cylindrical volume. The North- West side similarly constructed panels but with different widths and positions hint at the existence of the towers.

The intended effect of this is to break down the current apprehension zones into distinct ones.

Zone A would therefore be perceived as two distinct areas, as from the southern side both framing objects are observable, and from the northern side maximum one at a time.

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The V/P analysis of artificial lighting indicated the linear pendant luminaires as glare sources, creating reflections in computer screens. Adding glare shields on the luminaires offers the potential to individualise some of the areas for wayfinding, while having a minimal intervention on the lighting.

The glare shields were calculated so that a person using a computer, with the eye level at about 1.2m, looking perpendicularly on a screen, does not see reflections of luminaires positioned behind them. The dimensions of the glare shield is preserving the illumination level while preventing screen reflections.

3.50

3.05 2.94

2. Glare shields for linear luminaires

Fig. 37. Shield dimensions

Fig. 38. Luminaires creating reflections in screens

Fig. 39. Existing pendant luminaire

Fig. 41. Location glare shields Fig. 40. Proposed shading Luminaires with glare shields

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screen projecting

pattern reflector

3. Glare shields with pattern projector

Fitted on the glare shields for luminaires from point 2, the projector contains a reflector, and a screen with a pattern, creating two different types of pattern. One on the ‘home’

core, containing the kitchen and toilets, and one on the ‘office’

core, containing the PC room, seminar and group rooms.

Reflector Screen with

pattern

Fig. 42. Projector detail

Fig. 43. Luminaire existing

Fig. 44. Pattern projecting device at end of glare shields

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Fig. 42. Projector detail

Luminaires with glare shields ‘office’ core

Pattern projected on

‘home’ core

Pattern projected on

‘office’ core Luminaires with glare shields ‘home’ core

Fig. 45. Location glare shields with pattern projection

Fig. 46. ‘Home’ core vs ‘office’ core patterns

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34 Accents for spaces

Accents for exits

Accents for important Facilities:

PC room

Model making room Printing room

Fig. 49. Accents for exits

Fig. 50. Accent for important spaces

Fig. 51. Location map accents

The accents consist of hidden uplights with narrow beam, and are positioned as Fig. 49 shows for the exits, and Fig. 50 for the important facilities - PC room, printer room, and model making room.

Guiding Light

1

Guiding Light

Balancing fluidity and orientation TOMA SOVA

Guiding Light

Balancing fluidity and orientation TOMA SOVA

Guiding Light

Balancing fluidity and orientation TOMA SOVA

2

Content

4

1 .Abstract

2 .Introduction

6

3 .Methodology

4 .Literature review

8

4.1 Human Cognition

10

4.2 Wayfinding principles

4.3 Lighting as a wayfinding tool - V/P Theory

12

5 .Context analysis

N

14

1

2

3

5.1 Spatial analysis

16

18

19

20

5.2 Empirical data collection

22

Cores

24

5.3 Lighting Analysis

26

6 .Design considerations

28

N

S

E

W

7 .Concept design

1. Emphasizing outdoor landmarks

30

2. Glare shields for linear luminaires

32

3. Glare shields with pattern projector

34

Accents for spaces

1 ^.Abstract