LIGHTING MASTER PLAN FOR MARCHAMALO
SALT FLATS
KTH School of Architecture Architectural Lighting Design Master Thesis| May 2019 Course Code | AF270X
Author | Raquel García
rgr.valtuille@gmail.com Tutor | Diana Joels
Adviser | Paloma de Andrés
Author | Raquel García Tutor | Diana Joels
Adviser | Paloma de Andrés Ródenas
Master Thesis May 2019
Course Code | AF270X
ABSTRACT
The Marchamalo salt flats, built in the 18th century, are located near Cabo de Palos, Murcia (Spain), in a hot spot area with constant pressures of tourism and urban speculation.
The salt flats are currently abandoned, but its landscape and ecological value still subsist.
This Thesis aims to develop a low impact lighting Master plan for Marchamalo salt flats in which a comprehensive analysis is relevant for the design project. A holistic analysis method is employed which considers three agents: “Space”, “Humans” and “Light” to which the factor “Flora & Fauna” was added since the original method was developed for an urban context while the salt flats are located in a natural protected area. Each
agent is studied in depth, separately and the interrelations between them. Applying the interpretation of facts and data developed in the analysis and by means of alternative urban lighting solutions like phosphorescence, portable lamps and smart controls; a customised urban lighting design is proposed based on the salt flats identity, preservation of darkness, multi-sensorial experience of the realm and the reconnection with the sky and nature. The lighting proposal will also be the guiding thread to raise awareness about the importance of protecting the heritage in the Region of Murcia in general, taking as a particular example the case of Marchamalo salt flat.
Keywords: Low impact, darkness, holistic approach, natural protected realm, heritage, alternative urban lighting solutions, smart controls
1. INTRODUCTION ...6
2. METHODOLOGY ...7
3. BACKGROUND RESEARCH ...10
3.1. DESIGN WITH DARKNESS ... 11
3.2. ALTERNATIVE URBAN LIGHTING SOLUTIONS ... 13
3.3. LIGHT SPECTRUM IMPLICATIONS ... 15
4. ANALYSIS ...16
4.1. HUMANS ... 17
4.2. SPACE ... 17
4.3. HUMANS + SPACE ... 28
4.4. LIGHT ... 29
4.5. HUMANS + LIGHT ... 30
4.6. SPACE + HUMANS + LIGHT ... 30
4.7. FLORA & FAUNA ... 31
4.8. FLORA & FAUNA + SPACE ... 31
4.10. FLORA & FAUNA + LIGHT ... 32
4.11. SPACE+HUMANS+FLORA & FAUNA+LIGHT ... 32
5. DESIGN PROPOSAL ...33
5.1. VISION ... 34
5.2. CONCEPT... 35
5.3. LIGHTING STRATEGY ... 39
5.4. SMART CONTROL IDEAS ... 50
6. DISCUSSION ...53
7. CONCLUSION ...56
ACKNOWLEDGEMENTS ...57
The Marchamalo salt flats, built in the 18th century, are located near Cabo de Palos, Murcia (Spain), at the beginning of the coastal bar known as La Manga del Mar Menor. This salt area has been in disuse since the ‘90s, but its landscape and ecological value still subsists.
The salt flats are in a hot spot which has always been in conflict with the economic interests of individuals and which has suffered ecological disasters such as the bay of Portman [1] or the waters of El Mar Menor [2]; heritage abandonment such as the Convent of San Ginés [3]; or social like the village of Cabo Palos. There are also constant pressures for economic exploitation based on abusive tourism and urban speculation in La Manga del Mar Menor [4], the regional park of Calblanque, the seabed of Cabo Palos [5] or the same salt flats of Marchamalo [6] we are talking about.
This lighting project was born with the intention of giving continuity to the Final Grade’s Project carried out by Paloma de Andrés Ródenas, of the proposal for the recovery of the Marchamalo salt flats [7].
Paloma wants to return the certain cultural and environmental value of the salt flats by recovering its historical and architectural heritage, respecting and taking care of its unique ecosystem, and promoting the salt flats as a nucleus of cohesion and identity for the surrounding populations.
Following the path open by Paloma, this Thesis aims to be faithful with her values and develop a low impact lighting Master plan with a holistic approach, in which a comprehensive analysis is relevant for the design project.
To respect this natural protected area, the preservation of darkness would be the starting point. To promote the protection of the salt flats heritage, its identity elements would be the inspiration for the lighting design project.
The lighting proposal also would be the guiding thread to raise awareness about the importance of protecting the environmental, architectural, cultural and social heritage in the Region of Murcia in general, taking as a particular example the case of the Marchamalo salt flats.
1. INTRODUCTION
Fig.2,3.,4. Location (in pink) of the Marchamalo salt flats.
Mar Mediterráneo
La Manga
Calblanque
Cabo de Palos Playa Paraíso
Portman Mar Menor
Mar Mediterráneo
Calblanque
Cabo de Palos Las Triolas
La Manga
Playa Paraíso Mar Menor
Mar Mediterráneo
7 Methodology
2. METHODOLOGY
Fig.5. Methodology flow.
In this section is explained the methodology I have followed to develop a low impact lighting proposal.
Since I believe a good tailor-made solution is based on a strong analysis, I have made use of Hanan Peretz’s analysis method [8] as a guideline to access the agents involved in my project. But adapting it to my needs because Hanan Peretz developed this method for an urban context while mine is located in a natural protected area. Thus, the different agents to deal with in this project were the salt flats (space), the ecosystem (flora & fauna), the population (humans) and the urban lighting (light). I have studied them separately and the interrelation between them. It also was interesting to see how adaptable was this method.
Parallel to the analysis, I have conducted research about topics to support this stage or relevant for the design proposal. Like how to address lighting designs based on darkness, where is the threshold when designing with low light levels that allow users to maintain their sense of security and visual comfort,
how to face contrast within transitions, how to help with the acceptance of darkness or which other sensory experience brings the lack of vision. Also, it was necessary to understand the different light spectrum implications to find friendly solutions with wildlife and comfortable with user visual needs depending on the activity. Besides, the compilation of alternative urban lighting solutions was crucial for a low impact lighting answer.
Finally, applying the knowledge gained in my background research concerning the interpretation of facts and data acquired in the analysis, I developed a customize urban lighting master plan inside the salt flats.
After presenting my design, I discussed some interesting points that came out along this study and concluded with the main highlights I have learnt in this process.
DESIGN
DISCUSSION
CONCLUSION RESEARCH
Design with darkness Alternative urban lighting solutions
Light spectrums implications
ANALYSIS Space Flora & Fauna
Humans Light Lighting Master Plan for Marchamalo Salt flats
“How to develop a low impact lighting master plan in a natural protected area?”
Although this Thesis idea is also to promote the salt flats as a meeting point and as a
“nature recreation area” for Cabo Palos, Las Triolas, Playa Paraíso and the entrance of La Manga, due to a limit of time, the direct connection between these populations and the salt flats won’t be addressed. Because of understanding it as a bigger master plan which should consider not only the lighting inside the salt flats but also the peripheral urban lighting of these villages which suffer
from overlighting and which cause the light pollution of the whole area. However, I am aware that for the success of my master plan, it is something that should be resolved in the future.
Hence the project will be focused on the lighting design of the multimodal roads around the salt flats which are not in contact with the urbanized areas, the central plaza and the viewpoints.
Fig.6. Intervention map.
Limitations
Fig.7.In this figure rounded by a blue circle, it is shown a part of the route that is briefly in contact with an urban area. This is a sports centre which is not lit all night but it creates some light trespass as we will see. I decided to incorporate this road in my design because I thought it was more relevant to create a continuous tour around the salt flats than the damage it could do to include it to the overall project.
Multimodal road Pedestrian road Plaza Viewpoint
9 Methodology
Currently, the salt flats are abandoned, and Paloma’s Master plan proposal is not applied, it is a theoretical project. Therefore the analysis I am going to do would be done on site and reviewing Paloma’s thesis.
To Hanan’s Analysis method I have added the Flora & Fauna section, which was missing in his approach since he employed this tool in an urban context whereas I am applying it into a natural protected area.
Fig.9. My adaptation of Hanan’s analysis method.
HUMANS + SPACE
SPACE
SPACE + LIGHT
LIGHT HUMANS +LIGHT
HUMANS
FLORA
& FAUNA LIGHT HUMAN
S SP
+ ACE +
+
Fig.8. Hanan’s analysis method.
3. BACKGROUND RESEARCH
With the entrance of the new LED lighting technology, the continuous growth of urban populations, the tendency for brighter environments and our 24h society are making that over 80% of the world’s population suffer from light pollution [9]. We are losing our light/dark cycles and our connection with the sky. The problem is that although we know there are negative consequences for humans and the ecosystems, we don’t know their full extent yet. However, we know that whereas other kinds of pollutions are challenging to control, light pollution is something that is in our hand and possible to step back. We should think about how to re-encounter with darkness losing our fears, embracing lighting solutions which provide light where and when
is needed and conceive urban lighting designs tailor-made for its context rather than be based on regulations and standards. Let’s make use of the possibilities that the new technologies and studies are bringing in favour of a more customized, socially engaging, sustainable urban lighting planning.
Fig.10. Image of the exhibition The Third Age of Light, by Speirs & Major at the Royal Society of the Arts in London, March 2019. It examines how London’s public realm might be experienced after dark in the near future. Making use of technology and sustainable lighting solutions they imagine a future where we will have recovered the dark skies and the vision of the Milky Way.
11 Background
3.1. DESIGN WITH DARKNESS
Fig.13. An example of low contrast lighting in a green area on the campus of Washington University. This good light balance maintains the sense of security, visual comfort and orientation of the user in night- time urban spaces.
“What is often underestimated is the role that darkness plays as a counterpoint in the creation of atmosphere and space. In fact, the juxtaposition between light and dark is fundamental to the perception of space. (...) Lighting every surface flattens and destroys form. Selective application of light and the deliberate retention of degrees of darkness not only contributes to legibility but also creates expression” [10].
Visual balance
Considering my aim is to develop an urban lighting proposal based on the preservation of darkness, it is fundamental to understand the following issues.
Our eye is naturally drawn to areas of brightness. We perceive something as bright only in comparison to a darker area. This difference is expressed as a contrast ratio.
There is not a contrast ratio that would be right for all occasions, but following are shown some common values [11]:
2:1 difference can be perceived but is ‘flat’
5:1 distinct focal area
10:1 minimum for strong focal accent 15:1 dramatic focal accent.
When brightness contrast is too harsh, disturbing in different ways (glare, annoying shadows, etc.), a sharp contrast border intensify this discomfort, while a diffuse border or a soft gradient will considerably reduce this unpleasant effect [12].
Although we know that our visual system is capable of adapting to a wide range of visual sizes, luminance contrasts and illuminance levels [13] (figure 11 and figure 12), these values would affect our impressions of a space or object. Thus, designing with low light levels and darkness means understanding where is the threshold that allows users to maintain their sense of security, visual comfort and orientation in night-time urban spaces (figure 13). The color temperature also plays an important role in the perception of the amount of light as well as of visual and emotional comfort [13].
Fig.12. Luminance in terms of adaptation level.
The transition from photopic vision to scotopic vision necessitates an adaptation of the eye that takes about 10 minutes to be capable of seeing. But it takes 30 minutes for the eye to attain its maximum sensibility. This may cause a feeling of lack of security. The adaptation from scotopic vision to photopic also takes time. If the object luminance is too high or low compared to the adaptation luminance, it results in glare
Fig.11. Eye sensitivity stages. The human eye is able to adapt to a wide range of luminance values: from a dark night 0.000001 cd/m2 to a sunny day 100000 cd/m2. The process of adaptation to light changes the spectral sensitivity of the visual system.
> 3 cd/m2 0.001 - 3cd/m2 < 0.001 cd/m2
Fig.14. Picture of Renne’s master plan by Concepto. Lighting landmarks for identity or sensory purpose could help in the acceptance of darkness.
Fear of Darkness
It’s normal to be afraid of the dark; it is something instinctive. When we are not able to see our environment correctly, our body is alerted to face a possible threat. To be afraid of the dark is, in essence, to be afraid of the unknown. We cannot see what is outside, and that makes us afraid because our imagination creates the worst scenario.
Yi-Fu-Tuan, in his book Landscapes of Fear [14], identifies two types of feelings of fear:
alarm and anxiety.
Alarm is triggered when we perceive an imminent threat. The alarm triggers our primary need to fight or flee. In this case, lighting allows us to recognize the danger and avoid it. Light makes decisions and actions possible [14].
Anxiety, on the other hand, is a diffuse sense of fear, a feeling of danger when nothing in the immediate environment can be identified as dangerous. When we are anxious, we are in a state of vigilance and anticipation. The depth and persistence of our feelings of anxiety are deeply personal matters. However, we expect lighting to minimize our anxiety when we go out at night [14].
Education to accept darkness
Although public lighting can treat this diffuse anxiety and dread, there should be a balance between what is actually happening at night and the feelings that float through human awareness [14].
In the city of Renne, France is carrying out an urban lighting plan based on the preservation of darkness (figure 14), by Roger Narboni [15].
It was developed in response to the residents of Rennes who had clearly expressed their belief at public meetings and on exploratory nocturnal walks that there was too much lighting in the city.
“Preserving the darkness of the night in urban areas calls for information, cooperation, and clearly identified processes to allow for urban dwellers to move around at night in safety, across or alongside the dark sites (...). This educational work must be carried out in the long term, by experimenting with different types of soil treatment, the roadways, and surroundings through contrast in very low light levels, below 1 lux.” [16].
Multi-sensorial experience
“Darkness is an essential component to activate and trigger the imagination. Where darkness applies, curiosity emerges” [17].
Darkness holds intimacy. The loss of vision reinforces the rest of the human senses.
Sounds are heard louder, smells are accentuated, and we become more sensitive to touches. In figure 15, we can see a restaurant that uses the lack of vision to enhance the tastes, smells and textures of its dishes.
Obviating further visual overstimulation and turning the spotlight to the importance of darkness in spatial perception would give us a “multi-sensorial experience” of our environment.
Fig.15. Picture of the Restaurant Dans Le Noir in Paris. The pretension is to enhance the flavours and textures of the meals by covering the eyes of the guests.
13 Background
3.2. ALTERNATIVE URBAN LIGHTING SOLUTIONS
Before electric lighting came out into our daily life, we had other resources to lit our environments. These kinds of solutions allow to dim light levels and consume less energy.
When we face projects like the Marchamalo salt flats where the light levels are lower than usual, it could be interesting to rethink our approach and come back to them. Moreover, if the space we are dealing with is a natural protected area.
Portable lighting
Travellers used the torches firstly as portable light followed in the Medieval era by lanterns, which emitted a softly glowing light thanks to its translucent walls [18].
Vertical luminance
In the sixteenth-century, street lighting consisted of lanterns hanging from building’s walls, giving volume and borders to the streets [19].
With the era of cars, cities and in consequence its urban lighting started to be designed in base of car needs leaving over the pedestrian point of view. Light is focused on the horizontal plane. When it has been demonstrated that
for a better feeling of safety, space legibility and visual comfort, vertical luminance for wayfinding and facial recognition is much better [20]. It also avoids reflected light from the floor on to the sky.
Reflective materials
Our ancestors used white chalk and paint to mark the sides of pathways. They painted stones by the edge of the water to denote the danger line (figure 17). White-washed tree bases acted as signposts; piles of chalk caught the moonlight and Milky Way and amplified the effect of hand-held lanterns [21].
Nowadays we don’t have to mix chalk and lime; we can use new highly reflective paints, or a cutting edge version containing phosphorous.
Luminescence
Luminescence is the low-temperature emission of light (as by a chemical or physiological process) [22]. Depending on the energy which produces this lighting emission and the time frame between the absorption and the radiation, there are different kinds of luminescence.
Fig.16. A proposed (but not realized) lighting scheme for the city of Lille, France, by R. Narboni. Used of lanterns and vertical luminance.
Fig.17. Piles of chalky soil glowed in the moonlight and served as wayfinders.
Fig.18. Reflective clothes.
Fig.19. Trap the light by Gionata Gatto and Mike Thompson. They achieved to embed photoluminescent pigments into a lampshade made by Murano glass.
Fig.20. Van Gogh-Roosegaarde bicycle path. It Is made of thousands of glowing stones inspired by ‘Starry Night’. The path charges at daytime and glows at night.
Fig.21. Bioglow. One of the world’s first autoluminescent plants. For the moment its life cycle is approximately two or three months, but there are researches ongoing to improve this ecological technology.
any form of matter after the absorption of light [23]. In figure 19 and 20 are shown different projects which make use of this property.
Bioluminescence is the production and emission of light by a living organism [24].
Already in the past bioluminescence was employed as a recurs for lighting. For instance, in Southeast Asia, the late night travellers used the light produced by fireflies that congregate in the bends of the waterway [25].
15 Background
3.3. LIGHT SPECTRUM IMPLICATIONS
The changing of old street lighting to LED technology has brought the question of which light spectrum is less invasive with the dark cycles of the different ecosystems and humans. Many studies are carrying on in this matter [26] but still is early for conclusive answers. For the moment they have shown that it depends on the subject of study, but for sure there is the confirmation that low spectral light (blue, white) disrupt our circadian and ecosystem rhythms. In relation to this matter, I have gathered a few references with the objective of finding out friendly solutions with wildlife and comfortable with user visual needs depending on the activity.
Green
In Velddoornweg, Eindhoven, Netherlands they employed green light to lit a slow traffic road which crosses an area with lots of trees (figure 23). They chose green lighting because, as proven by scientific research, at low light levels the human eye is more sensitive to light in the green part of the spectrum. Using this mesopic efficiency, less light can be used compared to normal light sources to get the same visibility. The use of detectors in combination with green light results in a minimal disturbance of the ecological environment, while it also provides sufficient visibility for safe use by particularly slow traffic [27].
Amber
In Santa Pau, Girona, for instance, they employed amber light to lit a bridge which crosses a valley in the middle of a natural park. Amber LED lights reduce light pollution that negatively impacts insects [28].
Amber + White
In Malmo, they have arrived at a compromise solution of different color temperature depending on the area to help visibility and to differ between the roads and path walk.
For the roads, the use of 2200K which has lower color rendering but it provides a better perception of contrast and movement. While for pedestrian roads they use 3000K with a better CRI, for more accurate detail vision.
The election of a specific lighting spectrum should be done regarding the visual needs depending on the activity of users but also considering if it is an urban or natural context, because in function of the light spectrum chosen it would have different implications in humans and the ecosystems. Parallel to this, we always have to establish and confirm the need for light, employ the lowest illuminance criteria appropriate to this needs, and use controls to energize, dim and extinguish lighting to fulfil activity levels [29]. A holistic approach is crucial for these matters.
Fig.22. In mini-ecosystems in the Netherlands, researchers test the effects of artificial light of different spectrum.
Fig.23. Velddoornweg, Eindhoven, Netherlands they employed green light to lit a slow traffic road which crosses an area with lots of trees.
4. ANALYSIS
In the methodology, I already commented on the importance of a comprehensive and holistic analysis for a successful concept and design. As a tool, I employed Hanan’s analysis method but adapting it to my context. While Hanan developed this method for an urban environment, I am working with a natural protected area. Thus, to “Humans”, “Space“
and “Light” I have added the agent “Flora &
Fauna” (figure 24).
The gathering of information is done in the base of personal observations on site in different days and hours and reviewing the proposals exposed in Paloma’s paper,
to understand her territorial and mobility intervention. In my inquiries, I am also looking for knowing on depth the four agents involved in the area, but with special care, I want to know how is their interaction and where are the limits to get a harmonic solution which respects the four of them:
Space + Humans + Flora & Fauna + Light
Along with the paper, I will present the information collected following the structure of the analysis process.
Fig.24. Diagram of the analysis tool employed for the observations and information gathering.
HUMANS + SPACE
SPACE
SPACE + LIGHT
LIGHT HUMANS +LIGHT
HUMANS
FLORA
& FAUNA LIGHT HUMAN
S SP
+ ACE +
+
17 Analysis
4.2. SPACE
Location
Boundaries
Fig.25. Location.
Fig.26. The viewpoints and the pedestrian road do not exist in situ or in Paloma’s proposal. It is an element that I will design together with the lighting proposal.
4.1. HUMANS
Economy
The main economic activity is tourism and the services associated with it, it is also a temporary activity because during the summer months the population can exceed 200,000 inhabitants and yet during the rest of the year usually does not reach 14,000 [30].
The predominant activities are related to leisure activities and there is a considerable offer of nautical activities and sports, highlighting those of sailing for the excellent conditions for its practice that meets the Mar Menor. Other popular activities are scuba diving and therapeutic spas [30].
Visual mechanism & perception
As it is shown in the section “Dimensions &
Proportions” (page 20), the field of vision in the salt flats is very wide since the only high vertical elements are in its boundaries. In the centre of the salt square, the scale of the constructions modify this view but still, it is very broad. At night these vertical elements almost disappear if it wasn’t for the lights of the surrounding buildings and streetlights, increasing this feeling of horizontality and losing the perception of depth.
Regarding visual functions, retinal vision has an important role in my project since I want spatiality and atmosphere to be more relevant than visual acuity. Retinal vision (more or less unconsciously) gives us the necessary data to orientate in the environment. But It has also decisive importance on the emotional effects of a space [31].
Regarding eye sensitivity, I have to consider mostly mesopic vision but also photopic and in special cases like in the Plaza, scotopic.
Multimodal road Pedestrian road Plaza Viewpoint Boundaries
The Marchamalo salt flats were built in the 18th century, coinciding with a backwater area of the Mar Menor, from which time they began to be exploited for the production of salt.
It is important to know that within the salt industry the extraction of the mineral is an ecological activity, sustainable and in harmony with the natural environment since the only necessary resources are the natural ones: SUN, AIR and TIME [32].
History
Fig.27. In 1929 the salt flats consisted of 15 ponds that were fed with the water that came out of the Vivero by gravity.
Fig.28. It was after the 1920s that the salt flats began to expand to 79 rafts. In the middle of the 20th century, Cabo de Palos was consolidated as a remote summer centre for some families, who cohabit with the fishermen of the area. La Manga still persists as a unique landscape of beaches and dunes.
Fig.29. From the 60s the landscape of the Manga del Mar Menor was acquiring its current appearance by giant steps. It was the period when the natural channel of salty water of the salt flats, el Vivero, was dried to expand the soil for construction. It was also during the 1960s when the port of Cabo Palos experienced the most active years thanks to salt production.
Fig.30. It seems impossible, given the strategic urban situation of the Salinas, that could have survived the grotesque urban development of the area. Currently, there are abandoned, but its landscape and ecological value still subsist as a place of passage for many species.
19 Analysis
The Region of Murcia is one of the most sunny communities in Spain. Only for 70 days a year the skies are covered by clouds. The sunniest month is July, both for the absence of clouds and the long duration of the days, and the least December.
Its average annual temperature is 17 º, the number of days with frost are five and days with temperatures above 30 º around 25.
The annual rainfall is scarce, irregular, and concentrated in a few days a year, usually in spring and autumn.
The winds are not usually strong but constant due to their proximity to the sea (sea breezes) [33][34].
These climatic conditions favour the production of salt. Adverse factors such as humidity and rainfall are rare in the area.
Natural environment
Fig.31. Sun path in Marchamalo salt flats. Fig.32., Fig.33. Sun hours along the year. The graph is from the 15th of April. Fig.34. Weather conditions along the year.
The main feature of the salt flats is their extreme horizontality and visual amplitude, in contrast to the massive buildings of tourist flats of the adjacent localities and the Calblanque mountains. Due to its flatness and that the only constructions are in the central
“square” of the salt lakes, from the salt flats, you can see La Manga and Las Almoraderas,
Cabo Palos with its lighthouse, the Calblanque mountains, the Mar Menor lagoon and the cultivation fields. It is the only point where you can perceive the connection that has always existed between these areas and that has been divided by the highway, roads and mega-buildings.
Dimensions + Proportions
Fig.36., Fig.37., Fig.38. We can see this horizontality from different points in the salt flats where we can see: (1) the mountains of Calblanque, (2) the tourist buildings of La Manga, and the (3) Mar Menor with its little islands.
1
2
3 1
2 3
Fig.35. Map indicating where were taken the pictures on the right.
21 Analysis
1
3 2 4
5A 5B
6
2 3
4
5A
6 5B 1
Roads
Fig.39. It shows an overview of the different roads around the salt flats.
1 2
Fig.40.First two images: Photo and drawing of the current conditions of this route.
Bottom image Paloma’s proposal: pedestrianization of the road, removal of the asphalt leaving a dirt road, removal of the fence (the canal acts of separation).
Fig.41.First two images: Photo and drawing of the current conditions of this route.
Bottom image Paloma’s proposal: pedestrianization of the road, removal of the asphalt leaving a dirt road, plant native vegetation.
23 Analysis
3 4
Fig.42.First two images: Photo and drawing of the current conditions of this route.
Bottom image Paloma’s proposal: removal of the fence (the canal acts of separation), maintenance of native vegetation.
Fig.43.First two images: Photo and drawing of the current conditions of this route.
Bottom image Paloma’s proposal: removal of the asphalt leaving a dirt road, removal of the fence to improve the visual view of the salt flats, plant native vegetation to cover the vision of the sports centre.
Fig.44.First two images: Photo and drawing of the current conditions of this route.
Bottom image Paloma’s proposal: The wooden fence is maintained to isolate the birds from the noise of the beach.
5
6
Fig.45. On the left: photo of the current conditions of this route.
There is not path. In the drawing Paloma’s proposal: create a dirt road and plant native vegetation.
25 Analysis
Plaza
Fig.46. “El Vivero” that was the natural provider of warm salty water to the salt ponds is currently dried, but Paloma returns it to the sea.
Fig.47. Bird view of the salt flats with “El Vivero” recovered. In the centre is the Plaza.
Fig.48. The proportions of the salt square buildings are not too high. The most visible building around the area is the salt mill. Also the salt mountains.
Constructions
Office house
Salt mill Salt warehouse
Fig.52.Warehouse. Current conditions and Paloma’s recovery proposal.
Fig.51. Office building. Current conditions and Paloma’s recovery proposal.
Fig.49. Salt mill. Current conditions and Paloma’s recovery proposal.
SALT MILL OFFICE HOUSE
WAREHOUSE
PLAZA ELEVATION
PLAZA ELEVATION
Fig.50. Plaza scheme.
27 Analysis
Elements & Materials
Fig.53. Out the road very irregular limestone soil. Fig.54. The roads are in a clayey tone. Fig.55. Ponds and small dyke where is not possible to walk through.
Fig.57. In the skirt of the ponds crystalize salt.
Fig.56. Dyke along the road which goes to the Plaza.
Fig.58. Salt mountains. Currently, they don’t exist.
But they will in Paloma’s project. Fig.59. All the buildings are made of stones. Fig.60. The viewpoints, the fences and the pedestrian/furniture I will design are made in wood.
4.3. HUMANS + SPACE
Parallel to the idea of recovering the traditional salt production to promote the local economy and maintain the ecosystem of Marchamalo, my Thesis is focused on its territorial and mobility intervention.
Plaza in the centre of the salt flats has the traditional sense of meeting point, but on a wider territorial scale, which acts as an identity node for the neighbouring urban nuclei.
Multimodal roads for pedestrians and bicycles.
Pedestrian/Socializing area to rest, for observing the elements of the landscape, walk and hang out.
Viewpoints to rests and for observing the elements of the landscape, rising above the level of traffic.
Function & Activity Mental Image
Fig.61. My mental map of the salt flats regarding the 5 elements of Kevin Lynch.
Fig.62. The landmarks are represented by the salt mill and the salt mountains.
EdgePath Node District
Landmark
29 Analysis
4.4. LIGHT
The evaluation of the light is done by personal observations in different standing points (figure 64).
Inside the salt flats, the level is quite dark.
There is a contrast with the brighter adjacent populations. There is light trespass from the sports centre of Playa Paraiso and from the lighthouse of Cabo Palos which causes glare.
Level of light very dark very bright
Light distribution uniform very dramatic
Shadows very vague very marked
Reflections none very marked
Colour of light cool/cold warm
Appearance of surf.colour natural deteriorated
Glare none intolerable
Fig.67. The sports centre light trespass reflected on the ponds.
Fig.63. Light conditions evaluation by 7 properties of light.
Fig.64. Lighting scheme of the existing lighting. The white spot is the light coming from the sports centre of Playa Paraiso. The sodium pressure lights impressed the atmosphere of warm color (skyglow).
Fig.65. In the pictures, we can see the contrast between the darkness inside the salt flats and the adjacent populations.
Fig.66. This picture shows the spotlight of the sports centre.
Observation point Sodium pressure lights Spotlights sports centre
4.5. HUMANS + LIGHT
Adaptation light-dark
Because there is not urban lighting inside the salt flats, the level of light is very dark, thus in this zone, the eye´s visual sensitivity is defined by the scotopic vision.
In the surrounding urbanized areas lit by the traditional low-pressure sodium lamps, the eye works in the mesopic range.
There is not any transition between these urbanized areas and the different access to the salt flats. As we have seen in the section
“Design with darkness” (page 12), this high contrast may cause a feeling of lack of security, or even temporary blindness, very dangerous for the physical safety.
Interference by glare
In the same way, the high brightness of the spotlights of the sports centre in comparison with the darkness inside the flats caused glare and make difficult to adapt to the low light levels when looking towards the spots.
4.6. SPACE + HUMANS + LIGHT
Atmosphere
Right now the atmosphere of the salt flats is as it is, as an abandoned area. However, at the same time is perceived as a relaxing area where times stops and where you can enjoy the connection with nature and the other experiences brought by the darkness.
Physical safety
Regarding the physical safety from physical injuries (recognition of obstacles), some aspects should be considered:
The terrain in the salt flats is very flat, although there are some potential hazards which could
or trip over a stone if we go out of the walking roads where the soil is very irregular.
The speed of the different users, in the salt flats there would be pedestrians and cyclist.
“Compared with motorists, pedestrians can be much more responsive to obstacles, and only require lighting that will give a few seconds of visibility of such objects to enable safe passage with no physical injury. Where meeting obstacles is more likely, such as on a stairway or where pedestrians are moving faster, such as on a running route, a greater quantity of ground-level illuminance is appropriate [35]. ”
Feeling of safety and visibility
For people who don’t know the area could field unsafe since there is no visibility and everything is in the darkness.
Visibility of other people and surroundings while passing through space is a determining factor in the perception of safety among people. The range of visibility field required for acceptable pedestrian perceptions of personal security is greater than the range required for their physical safety [35]. For users who are unfamiliar with an area, route selection is largely based on visual information. This visual information is mostly concerned with the lighting by creating distinguishable differences between major
for guidance [36]. Also, facial recognition is a key factor in the feeling of safety. By shifting from horizontal luminosity from ground to vertical luminosity from eye level improves the visual comfort [14].
Visual Hierarchy and Legibility
In day time (as we have seen in the section
“Dimensions & Proportions”), the main feature of the salt flats is their extreme horizontality and visual amplitude in contrast to the towering buildings of the adjacent localities and the Calblanque mountains.
At night these vertical elements, together with the salt constructions disappear, increasing the feeling of horizontality and losing the perception of depth. There is no visual hierarchy. Our attention is driven towards the boundaries to the street lighting of the surrounding population. The reflection of its lights onto the ponds water ruins for us the perception of a natural landscape, making it more urbanite.
In the other hand, we could also say, due to the darkness, the lack of visual elements and the loss of depth, the starry sky is more noticeable, like a stars observatory it would be.
31 Analysis
4.7. FLORA & FAUNA
The salt flats are the main enclaves for waterfowl in the Region of Murcia, being able to find species that visit them looking for food, resting on their migratory journeys and even reproducing when the summer arrives [37].
Among all of them, the flamenco is the real symbol of the salt flats (figure 72).
In addition, these salt flats house a population of fartet (figure 78), one of the most endangered vertebrate species in the Iberian Peninsula.
Around the Marchamalo salt flats, you can find halophyte vegetation typical of salt flats and salt depressions, such as salicornia (Salicornia fruticosa), sea lettuce (Limonium cossonianum) or soda (Suaeda vera).
Particularly important are a few specimens of Mar Menor asparagus (Asparagus macrorrhizus), a species endemic to the lagoon environment and in critical danger of extinction [38].
4.8. FLORA & FAUNA + SPACE
The singular geographical condition of this place generates a unique coastal landscape.
As we can see in the plan, the project site is not only an area with environmental protection, but is completely surrounded by environmentally protected areas that are directly affected by tourism and the urbanization process [39].
Delimitation of spaces
Within the salt flats, the routes proposed by Paloma are always around the ponds, with the exception of those that converge in the central Plaza. To delimit the space dedicated to the natural and urban habitat.
Fig.79. Map of the protected areas. Protective figures: Protected Landscape of the Open Spaces and Islands of the Mar Menor, Site of Community Importance (SCI), Special Bird Projection Zone (SPA), Specially Protected Area of Mediterranean Interest, Wetland of International Importance (RAMSAR).
Fig.68.,69.,70.,71. Salicornia fruticosa, Limonium cossonianum, Suaeda vera, Asparagus macrorrhizus.
Fig.72.,73.,74.,75.,76.,77. Flamingo, Pied avocet, European golden plover, Black-winged stilt, Slender- billed gull, Common shelduck .
Fig.78.Spanish toothcarp.
Islands and open spaces of Mar Menor
Marchamalo salt flats
Grosa island
Marine Reserve of Cabo Palos hand Hormiga Island Salt flats and
sandbanks of San Pedro
Calblanque and Cenizas hill
Protected area Urbanized area
However, there is not any lighting inside the salt flats, the adjacent streetlight creates orange skyglow. There is also some light trespass as we commented before. According to the bortle dark sky scale [42], the salt flats are within the Class 5: Suburban sky. Meaning
that while the Milky Way is very weak or invisible near the horizon, still is possible to see the sky.
Fig.80. Vision of the nocturnal sky inside Marchamalo. In this area is still possible to see the moon and the stars.
Light pollution
4.11. SPACE+HUMANS+FLORA & FAUNA+LIGHT 4.9. FLORA & FAUNA + HUMANS
It is essential to point out that without the intervention of humans, this unique ecosystem would not exist. It has been the saline activity itself which has propitiated these naturalized ecosystems. This activity is necessary for the conservation of this natural complex with exceptional natural, scientific, cultural and landscape values. Due to its current abandonment, its maintenance is in danger.
On the other hand, the rich and colourful community of waterfowl attracts ornithology enthusiasts who enjoy as much as possible the stays of the birds in the area. Currently, some associations carry out voluntary work and various activities to promote the recovery of the natural and cultural heritage of the salt flats [40].
4.10. FLORA & FAUNA + LIGHT
For the vast majority of organisms (whether human, cockroach or wisp of plankton) the cycle of light and dark is an influential regulator of behaviour. It mediates courtship, reproduction, migration and more. “When you change it, you have the worry that it could screw up a lot of things”, says Christopher Kyba, a physicist at the German Research Centre for Geosciences in Potsdam [41].
Scientists have also found that disappearing darkness disturbs the behaviour of crickets, moths and bats, and even increases disease transmission in birds. The most lethal effects are perhaps on insects, vital food sources
and pollinators in many ecosystems. Some insects fly straight into lamps and sizzle; some collapse after circling them for hours.
Fewer studies have examined plants, but those that have suggest that light is disrupting them, too.
In the salt flats it hasn’t been carried out any study in this direction, so we don’t know yet which are the implications of light pollution in this area. However, regarding the outcomes of other studies, it is something that should be considered.
Design
33
5. DESIGN PROPOSAL
The “encañizadas” are an artisanal way of fishing characteristic of the coast of the Mar Menor. There is already evidence of their use by the Arabs in the Middle Ages.
The fishermen, taking advantage of the passage of the fish, place reeds in vertical stuck in the bottom with nets, in a labyrinth shape that ends in a paranza (square box) where the fishes are trapped, escaping between the reeds only the smaller ones [43].
It is a very selective way of fishing with the species and respectful with the environment.
The “encañizadas” together with the use of
boats with “Latin sail” are two of the signs of the fishing tradition of the area.
The windmills also constitute one of the most typical constructions of the Cartagena Field.
Most of these windmills were built between the 18th and 19th centuries. The main characteristic and what differentiates them from other windmills in Spain is the use of the
“Latin sail” instead of blades [44].
There was always a connection between the sea and the land.
Fig.81.,82.,83. In the top image we can see the “Encañizada” fishing system, the square box is what is called “la paranza”. In the middle figure it is shown the other typical image of the fishing landscpe of El Mar Menor, the bote of latin sail. This is the same sail employed in the windmills of Cartagena field (image bellow). There was always a connection between the sea and the soil.
Inspiration
Design with darkness Reconnect with the sky Multi-sensorial experience Reconnect with nature Identity
5.1. VISION
Vision
To create a magical nocturnal landscape based on darkness and local identity.
Offering a feeling of intimacy and multi- sensory experience of the environment which enhances the sounds of birds and cicadas;
the smell and taste of the saline air; the warm and humid sensation of the sea breeze in the skin; and the view of the starry sky; without affecting the natural environment with which it cohabits.
Fig.84. Moodboard
Design - Concept
35
5.2. CONCEPT
The Marchamalo salt flats are an ambiguous, valuable and unique space, where the boundaries between sea and land are not entirely clear.
Dependent on the waters of the Mar Menor and the hand of man is this last one the responsible for its characteristic appearance.
Therefore, when observing Marchamalo, one cannot avoid recognizing elements of the fishing tradition of the area, such as the Latin sail used in the salt mill. Because wisely man has always used the resources he has available.
Fig.85. Drawing of an imaginary light scene of Mar Menor, with the “encañizadas” system, the fishes and a Latin sailing bote guide by the stars.
Making use of these resources and elements, with the lighting proposal I want to dilute this limit between sea and land recreating the image of the fishing tradition of the Mar Menor. Thus, the viewpoints and routes will be the encañizadas systems that take walkers to the different points of interest like little fishes they were. The plaza, the darkest point of the salt flats would represent the fisherman in his Latin sailing boat (the salt mill in our case) that is oriented in the sea through the position of the stars.
Fig.86. Drawing of the inspiration of the lighting design. The encañizadas system is the guiding roads, the “paranzas “ the viewpoints and in the middle of the plaza the salt mill as a bote.
Design - Concept
37
Fig.87. Maps scheme where are shown the designed viewpoints and the central square.
Fig.88. The “paranzas “ are the viewpoints and the whole “encañizadas” system are the guiding roads. Fig.89. The Plaza in the heart of the salt flats is the darkest point of the complex. The intention is to create an area of darkness where can lie back and contemplate the night sky. The Latin sail of the salt mill, as well as the stones of the original constructions, will accompany this spectacle with a soft glow, keeping the connection with the history of the place.
Design - Lighting Strategy
39
5.3. LIGHTING STRATEGY
Low impact
Light where is needed Identity
GLOBAL APPROACH
Atmospheric Visual hierarchy Legibility
VISUAL EXPERIENCE
Low light levels Soft shadows Glow lighting Low lighting Reflected lighting Re-emitted lighting Dark areas
LIGHT QUALITIES
Fig.90. Moodboard.
Spectrum ranges, perceived brightness and contrast
Fig.91. Scheme showing the different light tones and perceived brightness depending on the activity and speed. Low spectrum light is not employed to respect wildlife. The light levels are kept low to avoid light pollution.
In transitions between areas with different light levels, it is used diffused contrast borders and gradient of brightness.
Socializing / Resting
Socializing /
Walking Transitions Walking Biking
Light distribution
Fig.92. Work with glow lighting to create soft atmospheric lighting Fig.94. Use vertical luminances and highlight identity buildings.
Feeling of safety, legibility and orientation
Physycal safety
Fig.93. Mark the risky areas like salt ponds borders with white glowing reflective painting.
Design - Lighting Strategy
41
Fig.95. The general lighting scheme for the salt flats. The viewpoints glowing softly like big lanterns to orient the walkers. The multimodal roads with luminescence stones glow in yellow for pedestrians, in green for bikes and in white in the borders of the salt flats. The pedestrian and meeting point in the Mar Menor beach warm low lighting is used. In the Plaza the darkness is kept, only lit by the residual lighting of the white phosphorescent salt mill sails, the concrete in between the stones of the old buildings and the white reflections of the salt mountains, to not forget where we are.
Viewpoint
Low ambient lighting Pedestrian - yellow glowing Cycling - green glowing
Ponds borders - white reflected/glowing
Fig.96. The general lighting scheme for the salt flats. The viewpoints glowing softly like big lanterns to orient the walkers. The multimodal roads with luminescence stones glow in yellow for pedestrians, in green for bikes and in white in the borders of the salt flats. The pedestrian and meeting point in the Mar Menor beach warm low lighting is used. In the Plaza the darkness is kept, only lit by the residual lighting of the white phosphorescent salt mill sails, the concrete in between the stones of the old buildings and the white reflections of the salt mountains, to not forget where we are.
Design - Lighting Strategy - Viewpoints
43 Viewpoints: Orientation
Fig.97. The viewpoints glow softly with warm lighting like lanterns to guide and orient the walkers around the salt flats. It helps to add vertical references which were missing in the salt flats.
Orientation
Fig.98. Each viewpoint will have a drawing in white reflective paint with the characteristic landmark towards is situated.
The symbol for Cabo Palos is the lighthouse
“Mar Menor”
viewpoint
“La Manga”
viewpoint
“Cabo Palos”
viewpoint
“Calblanque”
viewpoint
“Cartagena field”
viewpoint
Design - Lighting Strategy - Viewpoints
45 Transition
Fig.99. Scheme of the color and brightness gradient created to help with the transitions between different light level areas.
To help with eye adaptation in the transitions between the brighter viewpoints and the darker pedestrian path a gradient of brightness and color is created playing with:
• Concentration of glowing stones in the floor
• Glowing reeds in combination with warm artificial lighting.
When working with phosphorescent materials, we are designing with light but inevitably also with color. Not with color temperatures because for the moment the available technology only emits light in a specific portion of the spectrum depending on the material. (Who knows if with the interest in developing more sustainable lighting systems this is something that can be improved).
Then, which color to choose?
For this type of solutions, I have only found a range of colors ranging from blue, green, yellow to white.
I didn’t want employ blue because I prefer to work with longer wavelengths in order not to harm the flora and fauna of the salt flats in any case, even though I know that the light levels would be very low.
The reason for choosing green and yellow together is because they are close colors, so despite they differ from each other, the contrast is not too sharp (figure 100). Retinal vision works better with diffused borders of contrast and gradual transitions when assessing spatial information [45].
Green: Cyclists
According to the study in Velddoornweg, Netherlands [27], under green light, users of
medium speed have good mesopic sensitivity and spatial vision. Due to the speed of the cyclist and the fact that the bicycles will have their own light, the green path has a lower green stone density (less brightness) than the yellow side (pedestrians) and continues homogeneously illuminated along the entire route. For the same reasons, the light transitions don’t need to be addressed in the same way as is doing on the pedestrian side.
Yellow: Pedestrians
It is possible to say that yellow is perceived by people as more natural and brighter than green, being more attractive for the walkers.
This more luminous perception also helps the cyclist to distinguish better the proximity of pedestrians.
White: Boundaries
The election of white for the pond’s border is because it would be the most visible color and we already relation it as an indicator of boundaries (roads, pedestrian crossings).
Besides, white is related to the salt ridges that mark the edge of the salt flats.
The use of colored lighting system allows giving information without using physical elements that obstruct the space and vision during the day.
Multimodal road: Why green, yellow and white?
Fig.100. In this visualization is observed the difference in brightness between the biking and pedestrian sides thanks to the lower concentration of green stones in the first one. The border of the contrast in color and brightness is diffused.
Design - Lighting Strategy - Pedestrian Road
47 Pedestrian road
Fig.101. Paloma’s intervention only contemplated the multimodal road that goes close to the beach far from the salt flats. Along the flats side, I have added a pedestrian road at a medium level above the floor in order the walker could have the view of the salt flats.
Taking advantages of the height of the path I have created urban furniture where people could rest or socialized without bordering the wildlife which is protected by the wood fence. To invite people to join the gathering areas I employed low warm lighting. Here I also work with a gradient transition in brightness and color as I did in the transitions pedestrian/viewpoints.
Fig.102. Plaza lighting scheme. The intention is to preserve the darkness to have a place where contemplate the stars. “Like a star observatory”.
The unique lighting is the remitted lighting from the white glow of the salt mill sails and the old buildings.
Plaza: Sky Observatory
The Darkest area Identity
Atmospheric
Legibility
Glow lighting
Design - Lighting Strategy - Portable Lighting
49
This is a preliminary idea to support the lighting inside the salt flats. I was thinking of a personal lighting made by the typical “snail bag” of esparto and tissue as a diffuser.
The “snail bag” would be located in the viewpoints where the users can borrow it when they are visiting the park.
The light source is one of the visitor cell phone. He/she should place the cell phone inside the bag with the screen pointing out upwards (light glowing into holders face), and the flashlight towards the floor, to light the path.
Inside the bag would be diffusers and color filters to control the color temperature and distribution of the outcoming lighting.
Portable lighting: Light where is needed
Fig.103. Sketches of the portable lamp using the “snail bag”.
5.4. SMART CONTROL IDEAS
Firstable, the visitor, should download an app designed especially for the lighting system of the salt flats. This app would have four modes:
Walking mode Biking mode Atmospheric mode Sky observatory mode
Walking mode
Control of the portable lamp
This app sets the color temperature and light levels of the cell phone screen and flashlight.
Through the phone’s GPS It detects when there is a person close by (if this person is connected as well to the app). It calculates the distance and speed of the upcoming person, and in its function, it increases the light in a manner that our eye has time to adapt to the new light level.
It helps with eye adaptation, the feeling of safety making easier facial recognition and to give information about the presence or not of more people around us.
Control of the Viewpoints lighting In the viewpoints, there would be receptors connected with the app of the cell phones.
These receptors would asses the distance between the user and the viewpoints, and as the user is getting closer, it would increase the light level gradually in a manner the eye get adapt to the new light levels.
It helps with eye adaptation, the feeling of safety, wayfinding, and it gives information about the presence or not of more people around salt flats.
Biking mode
Standby mode
It deactivates the control of the cell phone lighting.
Atmospheric mode
To use with the portable lamp
It deactivates the flashlight of the cell phone, remaining only the screen glow to create atmospheric lighting where we need it.
Sky observatory mode
To use without the portable lamp It switches off both lights. The screen will show the constellation where we are located to help us to identify the stars.
Fig.104. Preliminary Idea of the Salt flat app interface based on URBAN SENSES visualization.
WALKING BIKING ATMOSPHERIC OBSERVATORY
