The Living Studios | lighting design project

MSc. in Lighting Design (LiD7 F20) 23 September – 17 December 2020

THE LIVING STUDIOS Seeing the Light. RE-LIGHT CAMPUS

Project supervisor:

Arthur van der Zaag

Project members:

Ana-Maria Nichita Jeppe Andersen Marc de Wolff Ellis Radu Rusu Rodrigo Francisco Laguera

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Abstract

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This design experiment project aims to create a holistic, sustainable and scalable lighting design concept in a space at the AAU Copenhagen campus that supports future learning activities and enhances the identity of the university while integrating the UN’s sustainable development goals.

Studies show that as a result increased digitalization and online information exchange, students are becoming more independent and learning needs more diverse. In the future, educational institutions must offer a setting in which the students feel inclined to spend more time, facilitates more social interaction and has benefits to the wellbeing, productivity and identity of each individual student. Although the available student workrooms aim to serve these functions, a thorough analysis of the space deems them insufficient in almost every aspect. By exploring different possible solutions to support the various activities within the space, this project presents a flexible spatial, materials and lighting design concept that will support the multifunctionality of the workroom. Research on innovative lighting concepts, such as circadian lighting, double dynamic lighting, limbic lighting, daylight redirection and modular lighting systems were incorporated in the design process. Various design proposals were developed, evaluated, tested and finally combined to create the best suitable solution for the future living studio in which students can better work, relax, and exchange with one another.

TABLE OF CONTENTS

01 Introduction 02 Methodology

04 06

03 Analysis

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Design Experiment: Room 2.05

Functions and spatial organisation

Light and materials

Daylight situation

10 12 14 18

Electrical light situation

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Light and atmosphere

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Key challenges and possibilities

04 Research

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AAU identity

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Future learning activities

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Sustainable Development Goals

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Sustainable design Wellbeing

Human Centric Lighting

Double Dynamic Lighting

Lighting for cosy atmospheres

30 30 31 31 32

Research Question

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Success criteria

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05 Design and Testing

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Concept description

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Lighting design matrix

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Experiment I — Partitions

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Experiment II — Exchange area

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Experiment III — Work area

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Proposal — Relax area

06 07 08 09

Final proposal and Evaluation Conclusion Perspective Bibliography

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60 70 72 73

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01 INTRODUCTION Reform in Higher Education

The now widely recognized “Fourth Industrial Revolution”, a term coined in 2015 by Klaus Schwab, Founder and Executive Chairman of the World Economic Forum, describes the current era of accelerating technological developments, information exchange and artificial intelligence (AI) that will fundamentally alter the way we live, work, and relate to one another.

An integral part of this revolution is the academic reform - changing how we educate and learn and what knowledge and skills will be prioritized in future generations (Schwab, 2015).

With the rise of AI and automation, many traditional career paths will disappear, and new disciplines emerge as institutions offer more global and interdisciplinary curricula with greater emphasis on collaborations between students. As technology advances and more tasks can be completed autonomously by machines, employers and industries have already recognized the growing importance of “people skills” that cannot be replaced by automation or AI. In higher education, liberal arts programs especially are recognized highly for facilitating the development of soft skills such as persuasion, peer-teaching capacity and emotional intelligence. Higher education institutions must be able to adapt, calling for increased flexibility and adaptability and accommodating for rapid change and reconfiguration as new fields of study emerge (Gleason, 2018, p. 214-221).

Great changes are expected not only in the academic content but in the student body itself. Diversity in range of age groups, cultural backgrounds and professional experience will increase greatly, giving way to more varied needs, expectations and motivations. As a result, continuous adaptation of the learning facilities themselves will be key to their competitive positioning and effectiveness over the decades to come (Butler, Magnini, Morell, 2018, p. 6).

For the future campus, this means new design concepts must be adaptable and flexible to accommodate changes in both curricula and in demographics. Additionally, spaces should be designed to facilitate personal communication among students, especially as digitalisation of higher education continues to grow.

Trends in learning methods

With information now accessible immediately online and no longer bound to the classroom or lecture hall, the focus of higher education is shifting towards more active learning methods based on collaboration within diverse teams in a project-based and peer learning environment.

“Evidence has shown that students learn more and recollection is greater when problem-based learning with an authentic outcome is the mode of education. Problem-based learning is student centered“ (Gleason, 2018, p. 214).

Together with problem-based learning methods, increased significance of hybrid or blended learning, the practice of mixing traditional in-person and online teaching methods, has made way for overall reform of how university students study. Hybrid learning concepts such as the “flipped classroom” describe a learning structure where students take part in digital lectures or watch pre-recorded videos individually and on their own time and come to class to engage in discussion and/or work collectively on solving problems. These trends toward student-centred education emphasizes reflection rather than retention, discussion amongst peers and experts, and interdisciplinary thinking (Lippel, 2016, p. 6-7).

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Trends in learning methods

“In parallel to the diffusion of digital learning, new pedagogies and teaching methods are emerging that foster greater collaboration and encourage student and teacher autonomy. Many of these new approaches promote both networking and peer-to-peer (P2P) exchange. Blended learning seeks to combine the strengths of both digital and physical approaches to education by leveraging the accessibility, transparency and convenience of digital media, while also creating impactful learning experiences on campus” (Butler, Magnini, Morell, 2018, p. 10).

The year 2020 especially, as a result of the Covid-19 pandemic, has been a catalyst for all-round transformation. As online and hybrid learning quickly became the de facto norm for most university students, the boundaries between contexts of learning, working, playing and living have been blurred (Cohen, Mor, Nørgård, 2020, p.1).

Increased digitalization of the learning environment means that study spaces are less defined, both by space and time. Students are becoming more flexible and mobile, allowing them to study whenever and wherever they decide to. This outlines evermore so the importance of higher education institutions offering a spatial setting in which their students desire to spend time in, fosters interaction and interdisciplinary communication and is beneficial to their conscious wellbeing.

Trends in learning methods

As the boundaries between everyday life and learning are continuously blurring and students can consciously choose where and how they want to research or study, new requirements for a holistic work-life experience on campus arise. As higher education becomes more student-centered, and the student body at it’s core becomes more diverse and dynamic, so must the campus architecture and design (ARUP, 2018, p.32).

In his twelve educational theories for building schools, the German educator Dr. Otto Seydel claims: “In the places where children learn to solve problems independently and freely, flexible, friendly and healthy rooms are needed. Light supports this in many ways. It changes environmental conditions at the touch of a button.” (Zumtobel, 2020, p.6). With a paradigm shift for the architecture of schools, new lighting requirements have to be met: innovative technology no longer fits into a “one size fits all” approach, the campus and light foster creativity through working in synergy, and the learning spaces become living spaces for the independent student. (ibid., p. 6).

A study by Aalborg University in Copenhagen about lighting and its effects within the classroom explores its ability to influence the learning environment and its effectiveness. Lighting’s capacity to create atmospheres targeted at different activities, influence communication and behavior, and provide overall visual comfort are ever more relevant topics in the future of learning spaces (Schledermann, Pihlajaniemi, Sen & Hansen, 2019).

In this sense, it has become clear that lighting solutions for the future must serve functions more individually. As learning spaces, their users and their needs become more multifaceted, so must lighting solutions become more flexible and dynamic. Additionally, light’s innate ability to both consciously and subconsciously influence human activity and wellbeing, and how exactly these concepts can be integrated into a campus design for the future are key elements explored in this design experiment project.

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01 INTRODUCTION Initial Research Question

Imagine if we could redesign a space at AAU that would enhance interdisciplinary collaborations and strengthen the student’s identity at AAU, improve on-campus experiences while adapting to the needs of the independent student of the future and become a flagship for sustainable higher education.

A scalable concept

Taking the findings from our initial research, we visited most of the openly accessible spaces within the campus at AAU Copenhagen in search of the most relevant space for our design experiment. Additional criteria we took into account when selecting a space were: where do we see the greatest potential for improvement and where our design could have the broadest impact for the future, i.e., could the design be implemented in more than just one space on campus.

The student workrooms at AAU are an integral part of the university and its academic approach and make up a large portion of the learning spaces throughout campus. One could argue that these rooms are at the core of AAU and their function is the most relevant to the trends discovered for the future of higher education.

The student workrooms that occupy the majority of Building B (FKJ 12) are used by several different study programs and all have similar floorplans, are equally outdated, poorly maintained and inadequately designed. This led us to the idea of creating a scalable and flexible design concept that could be implemented across all workrooms and improve their attractiveness and usability for future generations of students.

Location of workrooms at AAU, Building B (source: self produced)

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Student workrooms in Building B (FKJ 12) at AAU Copenhagen. (source: self produced)

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02 METHODOLOGY Design Experiment

The approach of this design experiment aims to cross the boundaries between scientific research and the creative process. The methods applied is a transdisciplinary approach that relates to three fields of knowledge:

Lighting engineering Architecture

Media technology We have used the Design Experiment Model (Hansen, Hvass, 2019) to carry out our problem-based design experiment, as follows: Step 1 — Design vision The first step of the process was approached by considering the three main criteria: AAU-identity, SDGs and future learning activities. Through research and brainstorming we narrowed down our focus to be on the student work rooms at the campus.

Step 2 — Design intentions After picking the space to focus on we started analysing the space and its functions. This was done with both natural scientific methods by measuring the light levels, daylight factor, reflectances of materials and contrast. The movement and effects of the sun on the location of the space were also investigated. Interviews with the occupants on the floors were carried out from a social science perspective to get a subjective understanding of the problems within the space. These findings helped us come up with a research question and hypothesis that should be fulfilled in order support the intention and success of the final design.

Step 3 — Design proposal Through a combination of our previous research, analysis and conclusions we started looking into case studies and references that could be applicable or a source of inspiration to our design intentions. These findings were then converted into three different experiments, each covering the three main areas of our chosen space and proposing solutions for the respective areas. The various proposals have been tested and evaluated through various methods (sketches, physical prototypes, DIALux simulations, Cinema4D renders, online survey), which have then been synthesized into a final design proposal for the space.

Step 4 — Design evaluation By comparing the pros and cons of each of the previously developed proposals, we got a better overview of which final decisions that were to be examined. Here all three knowledge fields were considered in a holistic way. In order to be able to evaluate or proposal in the future we contacted the Ministry of Higher Education and Science and were sent forward statistics on wellbeing, which could help us prove our hypothesis and hold us accountable to the sustainable development goals.

Step 5 — Design solution As our conclusion on a final design took shape, we converged our findings and created a final digital render to envision how the design would look if implemented.

This was done in Cinema 4D as well as Photoshop. The final proposal was also created in DIALux to be able to prove that the solutions would be accountable to the hypothesis of our findings, as well as meet all the EN standards and show which specific fixtures and manufacturers should be used. A digital walk through of the final design was then created in order to get a sense of the experience of the spatial and atmospheric structure.

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Problem-Based Learning

Aalborg University continuously develops and adapts its model for Problem-Based Learning (PBL) to ever-changing societal and educational requirements, which brought significant attention and recognition to the learning model (Aalborg University, 2020). Adopted by all educations at AAU, the model offers a holistic, problem and solution-oriented approach to tackling complex issues.

The principle of the AAU model for PBL that have been manifested the most in our group is the transdisciplinary collaboration, due to our group’s members having widely diverse backgrounds (construction, architecture, digital communication, sound design). For this reason, we have then put our own individual strengths into play in the following process, nurturing new skills and knowledge from one another along the way (ibid., 2020).

This project will therefore re-conceptualise how PBL can challenge, transform and expand current practices through the lenses of envisioned future hybrid models and environments for engaging students, in a post-pandemic world. These are visions of future PBL models that explore “hybridity” across different dimensions, such as online or offline, disciplinary or interdisciplinary, local or global, small group or complex network (ibid., 2020).

Ethnographic research

In order to get deeper insight of the students’ current interaction with the space and light, qualitative research methods have been applied on the students located on the 2nd floor in Building B. Using mainly ethnographic interviews following Spradley’s 9 Dimension Model, alongside photo and video documentations, these methods proved to be essential in the analysis of the lighting setup. Implementing the methods has thus helped us form our initial opinion on the challenges in relation to the chosen space at practical level of the light. Because of our chosen qualitative research approach and context of our project, we have used coding as analysis strategy of the ethnographic interviews, in order to create cultural themes that focus on values inferred from data (Spradley, 1979). The themes relate to the atmosphere, lighting and functionality of the workrooms and will be covered in the Analysis chapter.

A combination of qualitative and quantitative methods (an additional online survey) have been applied in the evaluation on the design proposals, which aided in the suggestion of an appropriate final design that meets the students’ needs, together with our technical evaluation.

Digital simulation and rendering

Various lighting design specific (Velux Daylight Visualiser, DIALux) and 3D building and rendering softwares (Cinema4D, Revit) have been used throughout our project, in order to test our empirical measurements, simulate the daylight and electrical light and visualise our design proposals and final concept. In this way, we ensured that we communicate our concept in the most clear visual way, with a proper technical support along the way.

Other softwares have been used throughout the project (Photoshop, Illustrator, Photosphere etc.), in order to best visualise our design intentions and analysis results.

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03 ANALYSIS Design Experiment: Room 2.05

Looking at each of the 4 out of 6 student workrooms we could gain access to in Building B, we found similar functionalities and issues in each of the spaces.

View of the 4 workrooms located in Building B (source: self-produced)

In order to conduct a detailed analysis of the current situation best suited for the development of a scalable design concept, it was important to select one room that best represents the challenges and potentials of the space’s lighting, architecture and interior design.

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Plan showcasing the spatial structure on the 1st floor, West wing (source: self produced)

N Plan showcasing the spatial structure on the 3rd floor, Eest wing (source: self produced)

Room 2.05 (Medialogy) Room 2.05, located on the second floor of the West wing and currently accommodating both the Bachelor and Master students of Medialogy, appeared, at first visual examination, to have the least spatial structure and greatest mix of functions.

Thus, these criteria allowed for the best overview of the entire room and showed most neutral parameters for further analysis.

N Plan showcasing the spatial structure on the 2nd floor, Eest wing (source: self produced)

N Plan showcasing the spatial structure on the 1st floor, Eest wing (source: self produced)

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03 ANALYSIS Functions and spatial organisation

The first step in understanding the problems and needs for redesigning the lighting was to look at the current functions of the workroom and their organisation.

As our goal is to develop a flexible and universal concept, we observed all workrooms and present structures. In our observation, we documented the existing furnishings and their placement and subsequently grouped these into functional areas according to their usage.

As seen below, each of these areas was then color-coded to visualize the division of functions; unidentifiable, unused and/or empty space has been left white.

3D section of the B building and the 3 floors of workrooms (source: self produced)

work areas

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lounge areas

informal meeting areas

group & individual work

break time, personal time

exchange ideas & information

productivity, creativity

relaxation, regeneration

communication, interaction

desks for 4-6 students,

sofas, low tables, shelving

high tables and chairs,

mobile pinboards, whiteboards

for books and public objects

backside of whiteboards

“home base”

“chill zone”

Upon observation, three major functional areas were therefore identified in all of the student workrooms, each with distinctive uses, purposes and furnishings, listed respectively above.

Additional auxiliary functions were identified as essential but not necessarily as part of a dedicated area, whose integration in our design process we will reconsider further:

“between work and play”

lockers storage units coatracks kitchenette shelving for prototypes, personalized items, etc.

In our observation, we documented the existing furnishings and their placement and subsequently grouped these into functional areas according to their usage.

As illustrated here, each of these areas was then color-coded to visualize the division of functions;

N Plan showcasing the functions on the 1st floor, East wing (source: self produced)

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Plan showcasing the functions on the 1st floor, West wing (source: self produced)

N Plan showcasing the functions on the 2nd floor, East wing (source: self produced)

N Plan showcasing the functions on the 3rd floor, East wing (source: self produced)

Part conclusion

Generally, the workrooms at AAU (particularily the 2nd floor on the East side in building B), offer little to no structure or definition. In terms of the overall functionality of the space, it seems to focus on the work task, due to the amount of dedicated space. Therefore, any other functions are almost imperceivable.

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03 ANALYSIS Light and materials

In order to better understand where exactly the problems with the space and its functions originate, it is necessary to look more in depth into the existing materials and lighting situation.

For each of the main functions we selected a representative sample area and measured the illuminance of all main surfaces both during an overcast day and at night. Each of the values are a range or average of several measuring points in each space. These would be used again later to verify and calibrate our computer simulations. Our findings were then compared with the minimum requirements according to the European Standard EN 12464-1 for light and lighting of indoor workplaces.

We also recorded the materials present in each of the spaces, taking several samples of their reflectance in order to accurately digitally model the space for light simulations. By taking series of photographs with varying aperture speeds, we were also able to use the program Photosphere to produce HDR images, helping us map the relative luminance within each of the spaces. By altering the HDR images with false colour mapping, the luminous contrast of the surfaces in each area, or lack thereof, can be seen more clearly.

The results showed that these three function areas, with the current illuminances, do not go according to the requirements of the European Standards.

The same exercise was carried out using false color images, where it was clear that the low luminance, the selection of materials is not beneficial for the illumination levels giving as a result very low contrast and poor illumination and the lack of “maintenance” of the luminaries caused gloomy and dark corners.

The extremely low luminance gives a sense of a very limited space.

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ceiling

carpet

wall

North facade

whiteboard

sofa

wood table

work table

chair

pinboard

Work area

Photos of the work area, taken during an overcast day (left) and at nighttime (right) (source: self produced)

False color images of the work area, done in Photosphere; during an overcast day (left) and at nighttime (right) (source: self produced)

The low illumination levels are resulting in low luminance levels and little contrast.

The high relative luminous intensity of luminaires is uncomfortable.

Too low luminances and too low luminance contrasts result in a dull and non-stimulating working environment.

Part conclusion

The work areas present generally low illuminances and generally uncomfortable lighting.

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03 ANALYSIS Light and materials Lounge area

Photos of the lounge area, taken during an overcast day (left) and at nighttime (right) (source: self produced)

False color images of the lounge area, done in Photosphere; during an overcast day (left) and at nighttime (right) (source: self produced)

The dark materials result in extremely low luminances, which make the space look gloomy.

There is unclear definition of space, no separation or difference in illumination to surrounding functions.

The defective luminaires and empty furniture give univiting, unoccupied impression.

Part conclusion

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There is no differentiation to the workspace lighting in the lounge areas, due to the use of only one type of ceiling light, poorly maintained.

Informal meeting area

Photos of the informal meeting area, taken during an overcast day (left) and at nighttime (right) (source: self produced)

False color images of the informal meeting area, done in Photosphere; during an overcast day (left) and at nighttime (right) (source: self produced)

There is virtually unnoticeable daylight due to the large room width, low ceilings and obstructive whiteboards.

Low luminance levels of ceiling make space seem oppressive.

There is no difference in structure and light to other functions of space.

Part conclusion

In the central areas, the daylight is imperceivable due to the whiteboards’ display; therefore there are low luminances on the floor and ceiling.

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03 ANALYSIS Daylight situation

The sun is the most powerful and more important light source on our planet, as humans we’ve adapt our daily life to it, it defines our sleep patterns, enhance our color perceptions and improve the well-being (Waskett, 2018).

When it comes to architecture, buildings with bonded natural light have a lot of positive aspects to the users according to the program of the building for example in schools improve student test scores, in hospitals or clinics shortens patient’s recovery times, in shopping centres can bust retails sales or in offices boost employee productivity and decrease rates of absenteeism (ibid., 2018).

Illustrations of the sun movement over AAU campus, during summer solstice and winter solstice (source: self-produced)

The below diagrams show the location of the building and analyse the sun path during the summer and winter solstice al 12:00pm.

Our workroom studio case has apertures on both the North and the South side of the building B. This is seen as advantage since it gains natural sun light in the longest facades of the building. The north facade is made up of a large glass façade that receives a very good indirect light quality during the day perfect for working spaces. But in the other hand the South façade receives a great amount of direct light especially after midday, creating a disability glare and generating heat gains inside the building and in the work spaces.

Both represent a challenge since the two of them should be evaluated in order to provide a solution that gives comfort to the users of the space.

It is a well-known fact that every time a human being wants to achieve a task inside a building, they tend to go where the sun light can reach them (ibid., 2018). But it is necessary to control the natural sunlight with elements that dose or redirect it, in order to avoid discomfort glare by direct natural light.

South facade with direct sunlight (01), while North facade has reflected sunlight (02), especially during winter (source: self produced)

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Current situation

The working spaces on the South side gain too much direct sunlight, which can shine into the space at low angles, making it very uncomfortable to work in this area, causing glare and discomfort and a high degree of unwanted contrast between surfaces; as a result, often occupants close blinds blocking out daylight, preventing it to come deeper into the building and blocking the view to the outside.

On the other hand, in the working spaces located on the North façade, there is a good amount of indirect light. When it gets too sunny, this side of the workroom receives the reflected sunlight from building A across the waterline, but it is easy to control this problem since the façade, has an adjustable roller shade system that blocks the glare, but lets the light come through and still allows the view to the outside.

Velux and DIALux simulations

After collecting the appropriate data from the student workroom and creating the 3D model of the building in Revit, the model was exported to Velux for daylight factor simulation.

The simulation results had very similar figures to the empirical measurements, which confirmed the initial theories: that the central area receives little to no daylight due to the width of the room and the very lightabsorbing materials (for example, the floor carpet has 14% reflectance); on the other hand, the area along the outer wall receives sufficient daylight, which creates beneficial conditions for the workspaces.

In a real-life situation, however, the central area will receive even less daylight, due to the furniture (mainly the whiteboards) obstructing the natural light.

Velux daylight factor simulation and empirical measurements (above) (source: self-produced) Velux daylight factor simulation (right) (source: self-produced)

Part conclusion

There is no daylight control on the South facade, which makes this side of the workroom visually uncomfortable because of the high luminance levels. On the contrary, the center of the workroom shows low daylight factor values and it is the darkest zone of the room.

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03 ANALYSIS Electrical light situation

For the electric light simulation, DIALux was used. However, the currently installed luminaires (THORN) were not available in the software, but the manufacturer confirmed that an alternative luminaire (LUXIONA) can be used for the simulation, as it has very similar specifications.

This luminaire has a low light output ratio (47%) which means that over half of the light from the source is lost and, on top of that, the light source, which is a Philips fluorescent tube, has a poor spectral power distribution and a colour rendering index of 80, which is not ideal for workspaces.

installed luminaire

confirmed alternative

light source

AGAT POS 1X40W TC-L SPE E 11ALAG1040STY

1 x compact fluorescent lamp Nominal lamp power

40 W

Socket

2G11

Luminous flux

47%

Color designation

Lamp flux

3500 lm

LOR

Luminous efficiency

39 lm/W

Total flux

CCT CRI

4000 K 80

Total power

1638 lm 42 W

Luminous efficiency CCT CRI

3500 lm warm white 88 lm/W 3000 K >80

Photos and data sheets of above luminaires and light source, available online (sources: www.thornlighting.com; www.luxiona.com; www.lighting.philips.com)

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The light simulation results were as expected and as tested with the previous empirical measurements: with about 110 lux in the brightest areas, around 80-90 lux on the workspace tables and as low as 20-30 in the darkest areas.

According to the EN 12464-1, offices and educational rooms should have an illuminance range of around 300-500 lux, depending on the type of interior, task or activity; therefore, it can be concluded that the current lighting situation does not meet the criteria.

Velux daylight actor simulation and empirical measurements (source: self-produced)

In addition to that, the electric lights are laid out in a uniform fashion, and only 5 rows can be controlled from a single point in the room. There is, in general, no adjustability nor flexibility when it comes to electric light controls.

Velux daylight factor simulation (source: self-produced)

Part conclusion

Although presented with a seemingly uniform organisation in the space, the electrical lights show an improper control system, poor efficiency and a bad light quality for a student environment.

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03 ANALYSIS Light and atmosphere

One interest we displayed early in the analysis process lays on studying who the users of our chosen space are and how they experience it - focusing on the light and atmosphere of the workroom. In order to get deeper insight in the social situation under study, respectively the students’ current interaction with the space and light, we conducted semi-structured interviews in a focus group manner with three groups of people: two of them enrolled in the Medialogy Bachelor programme and one consisting of Medialogy Master students.

While interviewing the informants, we have made ethnographic records through photos, audio recordings and notes, which have later been transcribed and analysed by the use of coding. The interviews contained descriptive questions (grand tour, mini tour, experience and example based) and have been made in such way that would allow the students to freely express their lighting specific experiences in the workroom, as well as their impressions on the functional areas that it contains.

Therefore, a number of key quotes have been selected in the following sections to summarize the similarity in answers of the informants. The emerging themes linked to each functional area have thus been compiled in the part conclusions.

“these are only temporary rooms for us. We only use the whiteboard for example when we might have milestones or to visualize a plan.”

“Literally, from the moment we come into the door, we sit here. So mostly we are here all the time.”

Work area

Stylized photo of the work area, South side, 2nd floor (source: self produced)

“the light just up there, the tiny little square that is not lit right now, is really cold blue. It’s really cold, sharp and it goes in your eyes.”

“Sometimes it’s just more comfortable to have more lights.

Sometimes you just want to get a bit more light to feel like you’re waking more up. But that’s not an option in here.”

“There were a lot of groups and sometimes it got a bit annoying when people were having breaks and having fun on both sides of you”

Part conclusion

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The work area was described as having tiresome lighting with no individual control, it is occasionally loud and does not offer enough privacy.

Stylized photo of the lounge area, 2nd floor (source: self produced)

Lounge area “It would be more cozy if we had actual lamps hanging down to give you the impression of a cafe or home-like vibe.“

Part conclusion

“Whenever it gets dark, it should just be kind of a soft mood. And just enough you can see what you’re actually doing.“

To the students, the lounge space doesn’t feel cozy enough; it has a sterile, uncomfortable and boring atmosphere to it instead

“...But since people don’t know which switch is connected to which light, people just go in and press like this (reproducing erratic gestures). Sometimes they turn on sometimes they don’t. So it’s a bit like magic.”

“It could also be really good with those tables that are tall enough for you to stand up while using them. There were one in here that we have used a tiny bit, but it just disappeared.”

Part conclusion

Stylized photo of the central area, 2nd floor (source: self produced)

Informal meeting area

“The couches are cozy because of the acoustics and enclosed space”

The central area, although the largest, is perceived by students as dark, cramped, unwelcoming, closed, uninspiring.

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03 ANALYSIS Key challenges and possibilities

The key challenges revealed by both our subjective and objective analyses have been narrowed down to get a better understanding of the potential of improvement or possibilities associated with the space.

The key activity that helped us in the data synthesis was data reduction.

Here, both quantitative and qualitative data collected during the analysis of the space has been reduced into meaningful categories - a combined effort using both comparison, inductive as well as deductive approaches.

challenges

low efficiency and quality luminaires with no adjustability feature

new daylight control and/or sunlight direction system to extend daylight intake

new individually adjustable task lights

Digital sketch made over a photo of the work area, South side, 2nd floor (source: self produced)

high daylight factor close to facade, therefore high risk for disability glare

Work area 24

possibilities

the dark partitions absorb too much light and have little acoustic benefits

too low illuminance on the task area

new materials to optimize the use of daylight + materials

introduce low glare, high intensity light

singular ceiling lights, poorly maintained that are uncomfortable and unfriendly

define space for auxiliary functions in congruency with light

use indirect, diffused and textured light for a more cozy and friendly atmosphere

Lounge area

Digital sketch made over a photo of the lounge area, 2nd floor (source: self produced)

unnecessary elements that serve no function, block light and make the space look uninviting

low luminances on floor and ceiling make the space feel cramped and unwelcoming

Informal meeting area

Digital sketch made over a photo of the central area, 2nd floor (source: self produced)

make the space feel more spacious through new lighting and spatial solutions

meeting areas unused for hours at a time

white boards block the side view and perception of daylight

define meeting areas better by creating small islands

find alternative for increasing daylight on the central area, while still providing privacy to the working students

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04 RESEARCH AAU Identity

AAU strategy, student centrism, PBL, innovation in education Since Aalborg University was established in 1974, their goal has been to use their platform as a global knowledge generating institution - to challenge, support and develop society. With this in mind, our project will broadly try to aid this goal, with a focus on the greater development of future student work environments at AAU. According to AAU’s Strategy plan for 2016-2021, knowledge must engage with contemporary issues; it must challenge existing paradigms, inspire new discoveries and make a difference (Aalborg University, 2015). In order to accomplish this, AAU develops actions within four core areas of interest: research, problem-based learning (PBL), education and knowledge collaboration. In our design project, we particularly focus on PBL and the education areas, as they encompass the AAU student body’s activities in relation to AAU and have the highest impact over them.

AAU adopts innovative actions towards PBL and education, which strengthen the university’s culture and identity as an institution that is student centric, committed to working with and in the best interest for its surrounding community. According to in-depth research, one can argue that AAU uses digitalization actively to strengthen innovation and renewal and to realize its strategic goals (Aalborg University, 2020). As part of the mentioned strategy, the university has set up a Study Environment Council to ensure that AAU’s educations are based on an attractive study environment that supports problem and project-based learning, as well as for initiating student-run pilot projects and development projects on the study environment (ibid., 2020). This can be relevant for us to possibly reach out to, in order to evaluate and assess our new student workroom concept.

Future Learning Activities

The independent student and future spatial context for learning As the classroom itself, in a traditional sense, loses its significance to digitalization, the campus as a physical learning space to facilitate groupwork and project-based learning will become ever more important in higher education. Although one could argue that not only the classroom, but also the interaction and collaboration between students could take place digitally, there are limitations to its effectiveness. According to a 2016 report from the Online Education Policy Initiative from the Massachusetts Institute of Technology (MIT) there is a significant amount of research showing that efficacy of peer learning is strongly correlated with the social and contextual aspects of learning. As an example, it states “there is early evidence that, although there may be cognitive benefits from online learning, the absence of social contact impacts motivation” (Lippel, Sarma, Willcox, 2016, p. 8).

Despite digitalisation’s potential, the more isolating experience that technology provides has clashed with the human instinct for inherently social experiences. According to an Arup report about the future campus, being part of a co-located student community still plays a key role in instilling a commitment to learn, establishing long-lasting relationships, developing soft social skills, building confidence and creating opportunities for innovation and economic growth (Butler, Magnini, Morell, 2018, p. 4).

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The year 2020 especially, as a result of the Covid-19 pandemic, has been a catalyst for all-round transformation. As online and hybrid learning quickly became the de facto norm for most university students, the boundaries between contexts of learning, working, playing and living have been blurred (Cohen, Mor, Nørgård, 2020, p.1).

Increased digitalization of the learning environment means that study spaces are less defined, both by space and time. Students are becoming more flexible and mobile, allowing them to study whenever and wherever they decide to, outlining evermore so the importance of higher education institutions offering a setting in which their students desire to spend time in and is beneficial to their conscious well-being.

From learning campus to living campus As information availability and remote services grow, the separation of everyday life and learning are becoming less and less clear. This, in combination with the increased autonomy of students about how and where they study, calls for the future university campus to provide a more attractive and holistic work-life destination for learning (Butler, Magnini, Morell, 2018, p. 32).

“As students and staff are encouraged to spend a large proportion of their day within the campus, there is the opportunity to positively impact their health and wellbeing. This will help students to perform better, as well as helping to differentiate the Higher Education Institutions’ offer. This ambition can be met by designing interior and exterior spaces that have human wellbeing at their core” (Butler, Magnini, Morell, 2018, p. 35).

In addition to positively influencing their health and well-being while present, the future campus should also offer attractive spaces and facilitate social interaction, individual reflection, discussion and project work. Higher education institution need not only offer the opportunity to learn but also support development of social and intrapersonal skills to prepare students for life and work in the modern world (Lippel, Sarma, Willcox, 2016, p. 18).

As education goals continue to evolve, so must the spatial context around learning activities. As stated in ARUP’s 2018 Report about the Future of the Campus, “Higher Education Institutions (HEIs) are striving to create worldclass experiences as part of their campuses, and to better understand what conditions make a thriving environment for students to socialise and make connections. This is leading to a greater focus on student engagement, wellbeing and work-life amenities, with the aim of encouraging students to spend time on campus in a more meaningful and productive way” (Butler, Magnini, Morell, 2018, p. 6).

Creating attractive learning/working environments with light If the University is to offer its student workspaces which are beneficial to their health and well-being and encourage more communication and interaction, the space must foremost attract their prolonged presence, i.e. the student must repeatedly consciously choose the space. So how does one achieve this with light? Here we will look into what elements make up attractive lighting solutions and how user satisfaction can be maximized to ensure repeated presence. Later we will explore additional solutions for

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04 RESEARCH positively affecting health and wellbeing.

Initially, the lighting must be inviting, aesthetically pleasing and comfortable in order for the student to be attracted to spend time in a space. According to Richard Kelly’s article “Lighting as an integral part of architecture” (1952), visual beauty is obtained by an interplay of three different kinds of light: focal glow, ambient luminescence, and the play of brilliants. Focal glow is described as “a pool of light” that draws attention to a certain attribute or function and helps the user see. Ambient luminescence is “uninterrupted light” or “shadowless illumination” that give a space a sense of reassurance or safety. Finally, the play of brilliants is a more playful and exciting element, a sparkle or sharp detail that stimulates the body and spirit. In following these principles, our design solutions can achieve initial attraction to the space.

But luring the student by beauty is only the first step. Encouraging the student to stay, work, and interact with others comes down to user satisfaction and developing a positive emotional connection to the space.

Colour temperature and light intensity are proven to have a great influence on creating the right atmosphere for different types of activities. Daylight, especially with its changing color and intensity, is widely considered to be the best light and maximizing its perception and effects, especially by complimenting it with electrical light which is at the core of many innovative lighting solutions for learning and working environments (fx.

Human Centric Lighting, Double Dynamic Lighting, introduced later).

But, as learning and working needs become more individualized and activities more diverse and less structured, static “one size fits all” lighting solutions are also a thing of the past. Diversity and adjustability in lighting puts the users first by allowing them to choose and adapt the light to best fit their individual needs for a variety of tasks (Zumtobel; “Creating powerhouses of learning through light”, 2020).

Strengthening the individual and the community with light As the student body and their learning styles grows more diverse, so do their needs for learning and working spaces and thus, their requirements for light. Offering solutions that cater to various individual needs and allow for adjustability can be motivating and increase productivity. Another Zumtobel report “Light for offices and communication” (2020) states “For highly motivated and productive people, quality characteristics of light such as light output and changes in colour temperature as well as options of influencing lighting conditions individually are of decisive importance.”

Furthermore, results from their joint studies with the Fraunhofer Institute of Labour Planning and Organisation show the wide range of preferences in light in the workplace and how controllable lighting can increase wellbeing.

By creating zones with different types of lighting and dynamic lighting scenes to support different tasks, whether controlled automatically or manually, the once monotone homogenous workspace is turned into a network of atmospheres and individual preferences. This not only expands the usability of the space by a constantly changing community of students but also allows each new student to feel more individually supported in their work and ultimately better identify with the University (Zumtobel; “Light for office and communication”, 2020).

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Sustainable Development Goals (SDGs)

The Sustainable Development Goals (SDGs) are a set of 17 interlinked goals designed to be “a blueprint to achieve a better and more sustainable future for all” (UN City, 2020). They were created in 2015 and are to be achieved by the year 2030. At AAU, a total of 15 researchers from different faculties are currently helping to qualify and validate Denmark’s progress towards the UN’s global goals.

As we go through the design process the SDG’s are going to work as a set of principles or dogmas. They will constrain our ideas in the framework set by the UN to ensure that we will design for a better and sustainable future. “In many ways, the environmental crisis is a design crisis. It is a consequence of how things are made, buildings are constructed, and landscapes are used. Design manifests culture, and culture rests firmly on how the foundation of what we believe to be true about the world” (Mclennan, 2004).

Through a screening of our project, we have mapped out the SDG targets that we have a potential of contributing to: UN’s Sustainable Development Goals

Sustainable Development Goals related to our study subject

Sustainable Development targets related to our study subject

Icons of the UN’s SDGs and targets, available online (source: www.un.org)

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04 RESEARCH Sustainable design

In a world where the human impact is increasingly straining our surrounding environments, it is important that we direct our attention to both present and future problems (Mclennan, 2004). The field of design is closely connected to the environmental crisis and the environmental impacts have escalated since the industrial revolution, after all – designers are the ones who demand what is being produced.

As lighting designers, it is important to consider energy consumption.

Fortunately, this has become easier with the rise of LED products. This gives more room for manoeuvring more towards the human-health component of sustainability. The control and automation of light sources can also have a positive impact on energy efficiency - since the lights can change and only be on whenever it is necessary.

Wellbeing

Sustainable design relates to the sustainability of the student as well as the lifecycle of the fixtures. Therefore, wellbeing is an important aspect to consider. Since the 1970’s, architecture has had an increased focus on environmental impact and human comfort. School buildings are an important facility in the community since students spend on average 25% of their time inside classrooms. They also often have a high occupancy rate compared to other types of buildings. In a report from 2018, a correlation between indoor environmental quality (IEQ) and productivity was stated.

IEQ factors relates to - indoor air quality, thermal, ergonomic, visual and acoustic comfort. (Saraiva, 2018) Another factor that has been reported to positively affect human wellbeing is nature. A term called biophilic design encourages the use of natural elements as design inspiration in the built environment. Research has shown that exposure to natural environments and features have positive effects both on human health and wellbeing. The biophilia hypothesis states that these positive effects stem from a biological bond between the natural world and human beings. (Gillis, Gatersleben, 2015) Colour is also proven to have an acute effect on visual, mental and emotional conditions – this means that it has importance to our quality of life and mental health. Colours can stimulate happiness in humans when applied correctly. Strong colours should for example only be used when they will be observed for a brief amount of time. In bigger spaces or surfaces subdued and softer colours are advised so that it would not interfere in an obtrusive manner with the observer (Yua, Yoon, 2010).

Light has an innate relation to colour. The composition of the spectral distribution from a light source has an impact on the way that we sense the colours around us. This relation to colour is called the colour rendering index (CRI) and should be as high as possible since the rendition of sharp colours has a flattering impact on the perceiver. Another connection between light and colour is called the correlated colour temperature (CCT) this connects to our sensation of warm and cold colours – which also has been shown to have a connection to our circadian rhythm and wellbeing.

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Human Centric Lighting

Since the discovery on the impact of nonvisual light in 2002, the effects on human psychology and physiology have been increasingly investigated.

This has pushed forward a new method of designing with light through a biologically effective perspective. The term refers to a holistic approach at designing lighting, which puts the natural light cycles in focus. The nonvisual light affects the cortisol and melatonin hormones in humans related to our circadian rhythm and studies are being carried out on ways to mimic the natural daylight cycles in workspaces.

In the graph below (Lumitech, 2020), the changes in the correlated colour temperature of the light from the sun is shown over the course of a full day. The aim of human centric lighting or circadian lighting is to mimic these natural changes in the electrical lighting of indoor spaces.

It has been documented that cognitive processes are affected by light and studies on brightness have proven a correlation between higher levels of illuminance and increased alertness and enhanced brain activity (Bisegna F., 2015). Further studies imply that CCT influence changing atmospheres and moods in humans. This also relates to an emotional response we as humans have to lighting. The term “limbic lighting” aims to address this emotional response in humans. Different scenarios during the day could be positively affected by changes in CCT. “Tuneable white” is a method of implementing controls of the CCT so the user can change the light according to the tasks. The higher blue proportion and increased intensity can for example have an activating effect at certain times of the day. This means that the lighting should generally be automated to support but also be tuneable and interactive for the user to change the lighting according to the task at hand. (Lumitech, 2020) In general, good lighting has the possibility to impact the user’s health, mood & productivity. Human centric lighting design considers many different factors including circadian rhythms, productivity, energy savings, emotional well-being (limbic lighting) and functional light quality. These findings will support our final design choices and success criteria in order to approach wellbeing in future learning activities.

Double Dynamic Lighting

Closely connected to the research on human centric lighting a new lighting design concept has emerged. Double dynamic lighting aims to further strengthen the visual relation to the outside world. By using 2 sources of light; one direct light for the task area, and one diffused light for surrounding and background areas - the lighting and shadow patterns creates similarity to the light of the sun and diffused skylight. The dynamics are introduced by measuring the outdoor light situation in real-time with

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04 RESEARCH a sensor and correlating the light intensity and correlated colour temperature accordingly. A study at AAU have found some guidelines for implementing double dynamic light which: “aims to act as in-spiration for future designs and developments of the dynamic lighting potentials and thereby support the indoor environment to meet human needs for natural variations”. (Hansen, 2020).

In the following graph taken from the Double Dynamic white paper, the guidelines for the directional and diffuse lighting with the according correlated colour temperatures for different sky conditions is shown.

Lighting for cosy atmospheres

“People light candles to remind themselves and others that they need to relax, that they are not at work anymore. The cosy-light hence signifies that one should relax.” (Bille, 2013).

When lighting specialists in Denmark state that “light is life”, this may be a biological fact, but it is in the half-light that people live – whether alone or with others (Borish, 1991). While this must hold some truth, given the excessive amount of candle-like light used in Denmark, it often seems to be the glow, the shadows and darker spots of the subdued lighting that direct domesticity. In this sense, the light from the bulb, candle, sun or moon may visually present the world but it is in the nuances of darkness and shadows – in the absences and invisibilities – that the particular atmosphere comes to life (Bille, 2013).

According to Mikkel Bille, light is about more than just the individual perception and plays a crucial role in orchestrating a sense of community and secureness at home. The staging of such atmosphere relies on cultural premises and notions of intimacy, informality and relaxation – encompassed in the Danish term hygge, or cosiness. Light can frame such sense of cosiness by allowing for visual oscillations between separation and connection of people, places and things (Bille, 2013).

For us as lighting designers, the notion of cosy atmospheres that Bille introduced helped us rethink the student workroom and investigate additional uses of light, away from the functional aspect of it, that would tie together with the sense of wellbeing and community affiliation of the students. Thus, more than the functional practice of increasing visibility for activities to take place, we will look at lighting practices that can also create and shape people’s moods and ideas of self and neighbourhood.

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Research Question

From our initial research question, our process led us to the research question, as follows: IRQ: Imagine if we could redesign a space at AAU that would enhance interdisciplinary collaborations and strengthen the student’s identity at AAU, improve on-campus experiences while adapting to the needs of the independent student of the future and become a flagship for sustainable higher education.

RQ: Can a new scalable lighting design and material concept for the student workrooms give the space more structure and adapt to changing needs in the university learning environment, improve student productivity and well-being, while strengthening their identity as an integral part of AAU?

Success design criteria

To sum up our research and analysis of the space and lighting challenges and possibilities, we further developed our success design criteria for a scalable lighting and materials concept for the future student workroom: strengthening students’ identity as an integral part of AAU’s community, by giving them more means of individual control and self expression make an inviting and stimulating environment in which students willingly spend more time learning and interacting with each other, outside of class use flexible and dynamic lighting to extend the benefits of daylight in the workplace, both spatially and temporally

Part conclusion

The Key takeaways from our initial research can be narrowed down to: Universities should offer attractive and multifunctional spaces for students to learn and spend time in which, in return, foster interdisciplinary communication, supports productive teamwork and caters to individual students needs and wellbeing.

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05 DESIGN AND TESTING Concept description From monotone student workroom to dynamic living studio

As found in the analysis of the space and it’s lighting and functions, the current student workrooms serve three major functions, for all of which the current situation is insufficient and lacking any variations in lighting or atmosphere.

While the main purpose of the workrooms is and must remain to provide a space in which students can individually and in their groups effectively work on projects, our research states the importance of providing a workspace that is not only a more comfortable, attractive and productive environment, but also fosters more in-person, especially interdisciplinary, communication.

As the current spatial organisation correctly sees the workspaces located along the exterior walls where they can take advantage of large amounts of daylight, the other two functional areas remain loosely scattered much less defined. In turn, they wander towards the poorly lit, unused space in the centre of the room.

Below illustrations visualising the new concepts for each functional area of the workroom (source: self produced)

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The new spatial reorganisation, which will in turn become the backbone of the new lighting and materials concept, dedicates the central area to informal meetings, student identity, and circulation; a communal area of exchange. The spaces for working and relaxing can be seen as modules, organized around the central element, that can be reconfigured as needed.

In such, we envision the new studio not simply as an assigned workroom, but as a dynamic community of students who choose the space to work, relax, and exchange with one other.

work

relax

exchange

a private space for work and

An informal and comfortable

A spacious, communal area

collaboration that can meet

space to take a break and relax,

with natural elements to

individual needs for creativity

refuel and reenergize, or tend

encounter others and exchange

and productivity

to other private needs

thoughts and ideas

“the home office”

“the family room”

“the courtyard”

Plan showcasing the newly suggested functions’ distribution (source: self produced)

The central zone, using existing tables and sitting groups found on campus, will also serve as the circulation area, include storage for the groupwork spaces (fx. the existing lockers), and provide space for plants. Additionally, it is the point of arrival and departure in each studio and shall provide a space for non-personal information exchange (fx. community pinboard) and a clear identification of which studio space it is, as there are several similar spaces on campus.

For our design experiment, we will use a layout with 17 workgroups (top left), the current average of the four workrooms we analysed. Configurations with 18, 19 workgroups (middle and bottom left) or more are easily imaginable. Essential to the longevity and sustainability of our design concept is the scalability, in which the number and positioning of workgroups can be varied.

In each configuration, the exchange zone maintains it’s dimension and central position and the equally sized workspaces can be configured in different ways with the relax areas. In this sense, the lighting solutions must maintain a certain degree of flexibility to accommodate these configurations.

Part conclusion

Plans showcasing the newly suggested distribution of functions on the other 3 explored floors (source: self produced)

As the number of students and study programs is bound to change in the future, it is important that the configuration and number of work and relax zones around the central area remain flexible. Also, rather than strictly separating study programs, as many currently are, we could imagine more equally distributing workgroups throughout the studios to ensure each student have similar amounts of space in each function to use. This would not only allow for a more efficient use of space, but would greatly improve the interdisciplinary contact between students.

Our design concept aims to:

- Enhance the multifunctionality of the studios by

- using light and materials to create structure, with a focus on

- reactivating the “dead zone” in the central area

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05 DESIGN AND TESTING Lighting design matrix The previous analysis and research put the development of our scalable workroom concept in its infancy stage.

All key insights gathered so far have been placed in the first half of the following matrix, briefly stating the functions, challenges, needs and goals associated with each of the 3 areas of the student workroom – thus providing a better overview of the subject at hand.

Process

Analysis

Research

Design

Functions

Challenges

Needs

Goals

Workspace Teamwork Computer Brainstorming

Dull Tiresome Uninspiring Insufficient

Productivity Creativity Individuality

Visual Comfort Stimulating Visual communication Customizable

Transit Orientation Informal meeting

Little daylight Unstructured Unwelcoming

Community & Connection Sense of Place Natural

Spaciousness Structure Identity Interaction

Breaktime Relaxation Refuel (Coffee/Food)

Sterile Unfriendly Neglected

Comfortable Inviting Informal

Playful Textured Interactive

Exchange

Lounge

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In order to look at the lighting possibilities from a technical point of view, further investigation has been done (of the European Standard EN 12464-1 for lighting of indoor workplaces) and covered in the second half of the matrix. Standard lighting practice

criteria was then defined for the 3 areas, such as light distribution, Correlated Color Temperature (CCT), Color Rendering Index (CRI) and light levels. With all this data laid out, hypotheses have been created and will further be carried out.

Lighting Distribution

CRI

Outcome

Control

CCT

Other

Illuminances

Hypothesis

Diffuse & Direct (30° angle) Ratio: 20-40 % directional

Individual Control Double Dynamic Daylight control

30006000K (diffuse) 3000K (direct)

>90

High intensity Low glare Single shadow

500 lx - Task area (300 lx diffused, 200 lx direct) 100 lx - Background 150 lx - Cylindrical illuminance

Productivity Focus Identity Wellbeing

Bright, diffuse “Skylight” Accents on meeting spaces and group identity

Automated & Dynamic Circadian lighting

30006000K

>90

Extension of daylight Low glare

200 lx – Student common rooms 100 lx – Circulation areas (at floor level)

Inviting Vibrant Communication Wellbeing

Low intensity Non-uniform Indirect Side-lighting

Personal control Mobile

22003000K

>90

Low glare Play of brilliance Caustics Organic materials

100 lx – Rest rooms

Cozy Relaxing Wellbeing

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05 DESIGN AND TESTING Experiment I — Partitions Improving effects and perception of daylight with new materials and partition system

In order to improve the use and perception of daylight throughout the space, we first suggest a few changes in materials and a new system of space-saving mobile hanging partitions, that would reconnect the central area to the daylight.

By moving the whiteboards to the side and fusing them into one element with the pinboards, more daylight can reach the central area and the view of the outside becomes unobstructed.

By expanding the combined whiteboard/pinboard partition to the ceiling with glass, visibility and light transmission are maintained while greatly increasing each workspace’s privacy by reducing acoustic disturbances from neighbouring groups.

Diagrams illustrating the current configuration of the whiteboards and pinboards in the work area (left) and our vision for the new partition system (right) (source: self produced)

DIALux calculation with the current partition system (left) and with our recommended system (right) (source: self produced)

By running daylight simulations in DIALux with the new spatial organisation, once with the existing partitions and whiteboards (left) and once with the new suggested system (bottom, right), the positive benefits to the central area can be clearly seen by increased illumination values.

The new floor and pinboard materials with higher reflectance values would also add to this effect.

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Diagram showcasing the new mobile partition system, which would allow more sun to reach the room, while still providing visibility to the students (source: self produced)

The moveable hanging partition system allows for simple reconfiguration along both axes, as well as for compact storage of supplemental or surplus elements.

Suggested movable system, inspired (source: Anaunia Movable Walls)

Inspiration

Moodboard of sources of inspiration for the partitions and their functionality (source: Astra Zeneca office in Taipei)

An added third panel provides extra space and privacy for each workspace.

This element could be used as a form of display for the group and it’s work, a place for identity and personal expression, visible for others even from further away in the room. If needed or desired, this panel could also be used parallel to the exchange zone for added privacy for either the workspace or the relax zones.

Optimally, the panel should also allow for configuration of functional elements just as coat hooks or magnets for hanging pictures.

The panel should be somewhat transparent to allow for veiled visibility of other groups and perception of space and daylight. It should also be reflective to enhance the visibility or feeling of daylight from the façade.

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05 DESIGN AND TESTING Experiment I — Partitions Improving effects and perception of daylight with new materials and partition system

In order to look at the potential of various materials that fit our partitions’ criteria, we gathered recycled objects and ran different lighting scenarios.

We therefore tested: metal grid sheets (01), perforated paper and plastic sheets (02) and different textured glass sheets (03).

As for the light sources, we used phone flashlights to act as spot lights, LED tubes with and without colored filters on and the light screens available in the Light Lab at the cmapus.

01

Illuminated structured glass: High potential for interactivity, providing privacy, while still transmitting a large amount of light.

Perforated metal: light should be diffused around the partitions of this material, as it can cast otherwise harsh shadows around.

Light source: Spot light proved to be more effective in showing the light+material interaction than the LED tube we used to demonstrate the integrated illumination for the partitions.

3 moodboards containing photos of the light and materials experimentation, done in the Light Lab (source: self produced)

Key takeaway from the experiments

02

03

Part conclusion

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After conducting the experiments, we came to the conclusion that there are 3 possible materials we can consider for the partitions: the structured glass, perforated metal and architectural mesh.

Structured glass While both transparent and reflective, it can give a space added privacy, especially acoustically.

Depending on it’s structure, it can also become a luminous surface by diffusing light through it’s structure.

Moodboard containing photos of applications of the structured glass material for partitions (source: Pinterest)

Perforated or expanded metal Although, depending on it’s perforation grade, much less transparent than glass, perforated metal is a more robust material that is also functional. Expanded metal, due to it’s non-planar surface, reflects light differently from many different angles.

Moodboard containing photos of applications of the perforated metal material for partitions (source: Pinterest)

Architectural mesh Similar to expanded metal in it’s reflective characteristics, metal mesh is more transparent and more uniform in it’s appearance.

Depending on composition and structure, it could also be used as a multifunctional surface.

Moodboard containing photos of applications of the architectural mesh material for partitions (source: Pinterest)

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05 DESIGN AND TESTING Experiment II — Exchange area Creating a welcoming communal "courtyard" as a unifying element that fosters student interaction

The goal for the design of the central exchange area is to create a spacious and welcoming communal area that is visually pleasing and positively stimulating. As this current space is fundamentally lacking any organisation and is furthest from daylight, our solution for the electrical light should not only complement the daylight but also introduce a light hierarchy to bring structure to the space.

Inspired by Richard Kelly’s concept of interplay of lights, consisting of focal glow, ambient luminescence and play of brilliants to create a comfortable and stimulating atmosphere, the space’s three main elements can be organised into this hierarchy.

Ambient luminescence — unifying ceiling element that creates spacious and welcoming feeling.

Focal glow — Accented freestanding islands for informal meetings, plants and group storage units.

Play of brilliance — Individual group panels for student expression and community identification.

Accent wall and new glass entry door for clearer studio localisation.

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Idea generation

Top moodboard containing 6 photos of various lighting applications fitting for the exchange area (source: Astra Zaneca office, Arktura, Pinterest)

Bottom moodboard containing 7 examples of sketches of various lspatial organisation and lighting situations (source: self produced)

Part conclusion

During the phase of idea generation for lighting solutions, we collected inspirational photos, created a series of conceptual sketches and discussed option for a new ceiling system to ultimately synthesize three design ideas to test and simulate.

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05 DESIGN AND TESTING Experiment II — Exchange area Design idea 1 the dreamliner By consolidating building installations to the sides of the room, the suspended ceiling in the middle could be removed to physically add space to the central area.

Indirect linear lighting enhances the added height of the space.

Added linear peripheral lighting could enhance the feeling of spaciousness in the room overall.

Indirect cove lighting on the ceiling and periphery Pendants provide direct light on tables Downlights for light grazing on the partition’s structured material

Inspiration

Render

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Design idea 2 the skylight By removing the suspended ceiling completely, the most physical space is added to the room. Exposed building installations and the raw ceiling could be visually hidden by being painted black, as depth perception on dark surfaces is more difficult.

The central unifying element is then a sort of artificial skylight, providing direct diffused light throughout the space. Individual ceiling panels above the workspaces provide a “roof” for each group and a reflective surface for indirect light while reintroducing acoustic benefits.

Diffuse light from continuous luminous ceiling element, emulating a skylight Direct, narrow beam downlights define the circulation area Linear sidelighting accent the partition’s structured material

Inspiration

Render

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05 DESIGN AND TESTING Experiment II — Exchange area Design idea 3 the waves Changing the material structure of the suspended ceiling in the central area is one way to differentiate the space from the surrounding areas.

Slatted ceilings allow for light to be reflected and/or transmitted from above, have acoustic benefits, and can be formed in various patters, such as the waves pattern from the AAU design guideline package found online, on AAU’s website.

Ceiling backlighting projected on the slats for diffused lighting effect Projectors behind the slats for table illumination Luminous structured glass panels for group identity

Inspiration

Render

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Survey observations on the 3 proposals After creating the 3 design proposals for the exchange area, we have made an online survey asking our fellow lighting design colleagues to share their subjective impressions of the proposals. The survey gave full freedom to the students to argue which design feels welcoming, spacious, encouraging interaction and spending more time in, as well as a being fitting for a holistic workspace environment.

1. What atmosphere do you find most welcoming?

2. Which concept do you think gives the best impression of spaciousness?

Assessed designs: the wave the dreamliner the skylight In the two first question with spaciousness and welcoming as the focus the 2nd ‘wave’ concept was the favorite – the comments hinted that it created a cozy and bright atmosphere, that had an attracting sensation when first encountered. The brightness and uniform lighting also contribute to the open atmosphere in the space.

“It gives a holistic feeling of flowing energy that follows the

collaborative flow in the room.”

“The structural ceiling looks cozy and creates warm atmosphere. It

is very welcoming.”

3. Where would you be inclined to spend most time in?

4. Which concept do you find to be the most encouraging for interaction with others?

In the next two categories about where, one would spend most time and which was more encouraging for interaction, the 3rd concept “Dreamliner” was in favor, the comments were saying that the focal lighting was better, and it was less distracting than the waves.

”The waves are nice, but I find the focal lighting in the 3rd picture to

make the center space feel more anchored”

Part conclusion

5. Which proposal do you find most fitting for a holistic workspace environment?

In the last question, the two concepts where equally in favor.

Results show that the Waves have an artistic expression, which attracts people, but the Dreamliner seems less intrusive and therefore more comfortable for longer periods of time.

It seems as the right combination of brightness and focal lighting is key.

The space should be balanced so it feels both spacious and open but still has a focal lighting that inspires more lingering and interaction around the middle area.

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05 DESIGN AND TESTING

2 walk through images from the DIALux file showcasing the Skylight design proposal (source: self produced)

Experiment II — Exchange area

After simulating the three design ideas and obtaining subjective feedback from potential users, it was important to evaluate each of the design objectively

Evaluation criteria Power consumption (@100%)

2 walk through images from the DIALux file showcasing the Waves design proposal (source: self produced) 2 walk through images from the DIALux file showcasing the Dreamliner design proposal (source: self produced)

Luminous membrane: ~2000W Downlights: 276W Screen side-lighting: 340W Total: ~2600W

Maintenance

Large singular element with difficulty to access Integrated LEDs in screens

Flexibility

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The skylight

No accent lighting, furniture placement highly flexible Mobile screens with integrated lighting could pose problems in electrical connection

Scalability

Life cycle (reusability)

Illuminance and uniformity in the circulation area

Life cycle (reusability)

Somewhat difficult to scale up at the campus

Difficult to reuse tailored membrane Track lighting easy to reinstall elsewhere Discontinuous repetition Average illuminance: 176 lx Uniformity: 0,23

Medium risk for disability glare from screen side-lighting Medium risk for discomfort glare from luminous ceiling Little risk for indirect glare due to dark ceiling

Assessment positive somewhat positive&negative negative

and critically to gain more clarity on their technical characteristics. In creating an evaluation matrix with various aspects to consider, such as power consumption,

maintenance, flexibility etc., we conducted walk-throughs in each of the DIALux simulations to critically analyze the results.

The waves

The dreamliner

Ceiling slat back-lighting: ~3100W

Indirect lighting: ~700W

Downlights: 231W

Pendants & spots: 189W

Luminous glass panels: ~680W

Screen down-lighting: 272W

Total: ~4000W

Total: ~1200W

Limited access to both types of ceiling luminaires

All luminaires are directly accessible

Integrated LEDs in screens

Accent lighting through ceiling slats limits positioning

Pendants and spots in track allow for easy

Mobile screens with integrated lighting could pose problems

reconfiguration

in electrical connection

Fixed downlights for screens not optimal for mobility

Difficult to scale up around the campus

Easy to scale up around the campus

Difficult to place elsewhere (customized ceiling slats)

Minimum architectural elements

Homogeneous light distribution

Good uniformity

Average illuminance: 138 lx

Average illuminance: 161 lx

Uniformity: 0,45

Uniformity: 0,42

High risk of disability glare/reflections from luminous partitions

Low risk for disability glare (overall)

Medium risk for discomfort glare from luminaires through ceiling slats

Medium risk for indirect glare from

Part conclusion

Low risk for discomfort glare (overall) ceiling and floor

With each proposal displaying both advantages and disadvantages, we looked to combine and improve different elements into a final proposal.

For the central area, together with the results from the survey, we chose to further explore the “waves” concept together with the advantages of the “dreamliner” concept.

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05 DESIGN AND TESTING Experiment II — Exchange area Further experimentation of ceiling solutions

Based on the feedback from the survey and our objective evaluation, we looked to further explore the possibilities in combining the ceiling solutions for the central exchange area. That is, to further incorporate the more organic texture of the “waves” concept with the efficiency of the “dreamliner” concept.

By creating a small mock-up, our objective was to visually test the relationship of the light’s position and ceiling structure. By cutting a rectangular opening in a large board and placing a second, slightly larger box above it, we recreated the void that would appear in removing the false ceiling over the central area. One open side to the box allowed for different ceiling surfaces to be inserted and the position of the linear LED light source to be adjusted.

Observations 0 — As a base for comparison, the simple open ceiling with indirect lighting (the most efficient of our tested design ideas) produce a very smooth gradient, but also results in a very luminous ceiling and a relatively dull impression.

Visualisation of our ceiling experiment process (source: self produced)

Evaluation and further testing The perception of added height is decidedly the most important aspect for the central element in the exchange area. It became clear that, aside from simply adding height to the space, the perception of the light coming from above through a permeable surface was much more beneficial than seeing the light bounce off a structured surface.

We concluded to further explore how to best achieve this in a more efficient and realistic manner.

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1 — By introducing a texture to the ceiling, the shadow structure on the faceted surface was much more interesting to look at, but disappeared with proximity to the light source.

2 — The idea of using the wave structure as the reflecting surface was quickly deemed nonsensical as the harsh shadows quickly outbalance the luminous surfaces and render the highest points in the ceiling the darkest.

3 — Still, the open slat structure with light coming from above appeared the most balanced and visually comfortable. Additionally, the viewer is able to perceive space above the slats, inducing the sense of space, even when the slats are at the same height of the existing ceiling.

DIALux testings

8 extracted views from our DIALux testings of the workroom ceilings (source: self produced)

Part conclusion

Through physical and digital experimentation, we concluded the most efficient and least problematic combination of light and ceiling structure was to use horizontal, parallel ceiling slats in a much smaller dimension and to bounce light from linear light sources off the ceiling above. This resulted in a much more homogenous light distribution and greatly reduces the potential for glare.

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05 DESIGN AND TESTING Experiment III — Work area Using the principles of Double Dynamic Lighting for flexible and adjustable lighting in each workspace

Following the principles of the Double Dynamic Lighting concept and research findings for optimum workspace lighting, it is important to also find a solution that is flexible to allow for reconfiguration of the workspaces and harmonizes well with the central exchange area.

Visual comfort with respects to glare, illumination levels, and luminance distribution as described in the European Standards must also be taken into consideration. User satisfaction must also be taken into consideration by ensuring a certain degree of individual control and also adhering to Richard Kelly’s concept of interplay of lights. Possible solutions, each inspired by our design ideas for the central exchange area, were developed following the design framework:

Ambient luminescence — indirect

Focal glow — controlled, flexible and

and/or diffused light from the ceiling

individually adjustable direct light for

or

the task area (groupwork table)

general

lighting,

dynamically

complimenting the daylight

Play of brilliance — individualised group panels for student expression and community identification, using structured material to transmit and reflect light

Daylight & sunlight — new daylight control solution to enhance the use of daylight and limit thechance for disability glare

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Design idea 1 the direct-indirect standing luminaire A common solution for openplan office spaces, standing luminaires offers the greatest flexibility for reconfiguration of workspaces and the simplest of control options. Using buttons on the luminaire itself, the user can control the intensity and colour temperature of both direct and indirect light separately. Optional daylight and/or presence detectors could add ease of use and increase efficiency.

Evaluation Practicality & control Standing luminaires, although the easiest to reposition, remain largely inflexible with respects to light distribution. Most standing luminaires are designed for two workspaces, and even larger luminaires (such as tested) would have difficulty illuminating 6 workspaces. Additionally, placement of the luminaire limits table configuration possibilities and could cause blockage of window access.

Illumination & uniformity While the required average illumination levels are achieved both on the task area (E > 500 lx) and in the background area (E > 100 lx), uniformity (g) within the task area is far below the standard (g > 0,60).

Luminance distribution & glare Due to the limited light distribution of the luminaire, there is a potential for visual discomfort from the high luminance levels on the ceiling from neighbouring groups. Otherwise, the recommended luminance ratio between task area (L: 50-75 cd/m²) and background (L: 2030 cd/m²) are within the recommended value of 3:1.

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05 DESIGN AND TESTING Experiment III — Work area Design idea 2 cove lighting and track luminaires Using a ceiling gap along the façade, diffused indirect light provides continuous general lighting to all workspaces. Using daylight sensors to dynamically complement the current daylight situation, and synchronized with the central exchange area, each group would have control over the direct light. Provided by track luminaires to maintain flexibility, the direct light for the task area can be adjusted and controlled as desired.

Evaluation

Practicality & control Using linear light along the whole length of the room limits the possibility of individual control within a workspace.

The asymmetry of the diffused light could be problematic, although diffused light also comes from the central area.

Track luminaires offer a great amount of flexibility and adjustability, individual control options would need to be resolved.

Illumination & uniformity Illumination and uniformity values for both the task area and background area are achieved.

Luminance distribution & glare Although the track luminaire’s characteristics are superb for task lighting (UGR<16), the positioning of the linear diffused light leads to an asymmetrical light distribution and potential for glare, as the linear light elements are directly visible close to the wall. The relatively high luminance levels on the wall could also pose distracting.

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Design idea 3 the double dynamic panel

Envisioned as an all-in-one moveable light and acoustic element, the suspended ceiling panel incorporates the principles of double dynamic lighting by using indirect lighting along its perimeter and adjustable spotlights to directly illuminate the task area. As each panel is dedicated to a single workspace, each group has full control of both light sources as they see fit.

Evaluation Practicality & control The dimensions of the panel could render it rather cumbersome to transport and mount during reconfiguration of the workspaces. The fixed position of the downlights also limits the positioning of the workspace below it. Wireless control would allow the two light sources to be controlled individually in each space.

Illumination & uniformity Illumination levels on the task area are sufficient, although the ratio of diffuse to direct light does not conform to the suggested values for double dynamic lighting. Minimum illumination levels on the whiteboards are not achieved.

Luminance distribution & glare Especially due to the dark ceiling, luminance ratios are too high (more than the recommended 3:1; Task Area L: 50-75 cd/m², Background L: 10-20 cd/ m²). Although the potential for glare is low, the high contrast ratios could be distracting and tiresome.

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05 DESIGN AND TESTING Experiment III — Work area Improving daylight control on the south facade

Abundant sunlight can adversely affect buildings occupants as much as it benefits them, with problems such as glare, heat gain, and fading.

Looking at the daylight situation analysed in “Light and Materials” (chapter 3), the objectives were very clear.

Bring sunlight deeper into the room

Preserve the relation between the user to the outside To implement a daylight control that combines these two options we evaluated different solution specifically for the south façade, since the north façade works fine with the current solution of receiving indirect light.

The first solution is in base of a traditional and more common solution often used in buildings such as a light shelve, which is a horizontal element device used to intercept, soften and distribute more evenly and deeper direct sunlight into a space.

These interior light shelves divide windows between the viewable portion and the part that lets in additional natural light, bouncing it upward and reflecting it off the ceiling to let daylight penetrate deeper into the floorplate.

(Antonis Kontadakis, 2017).

Sketch illustrating the light shelves suggestion for the work area (source: self produced)

The light shelves

It is a film designed to redirect sunlight from windows deeper into buildings to increase natural light. This is installed in the upper portion of the windows.

Daylight is redirected upwards toward the ceiling, allowing natural light to penetrate deeper into the building working with the same principals as the light shelves, but without the necessity to use an element.

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Sketch illustrating the daylight redirecting film suggestion for the work area (source: self produced)

Daylight redirecting film

Synthesis of final proposal by combining elements Similar to the approach in the exchange area, we looked to combine elements and positive aspects of the different workspace lighting ideas based on our evaluation.

The peripheral cove lighting supports the perception of space and eliminates the dark corners of unoccupied groupwork spaces.

Due to it’s asymmetrical distribution, it should not be implemented for the diffuse workspace lighting.

Rather, it is used to define the space as a whole, complement the daylight as it leaves the room and provide lows ambient lighting for orientation, which also serves beneficial to the atmosphere in the lounge areas. Maintained as an accent or soft glow, the luminous power of the cove lighting can also be reduced.

For the functional workspace lighting, we looked to uphold the principles of double dynamic lighting while maintaining the flexibility of a track system.

Sketch illustrating the combined elements from the initial ideas, which provide the final proposal for the workspace (source: self produced)

A singular recessed linear ceiling element in each workspace included both diffused light and spotlight elements that can be controlled individually and configured modularly. Elements can be adjusted, removed or added as needed, ultimately without the need of professional assistance.

Through further research, systems that follow this principle are readily available from a multitude of manufacturers (right). Further criteria for the system include a tuneable white option for the diffused light and wireless individual control to assure each workspace can adapt its light as needed.

Application examples (source: www.deltalight.com)

Application examples in a work environment (source: www.flos.com)

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05 DESIGN AND TESTING Proposal — Relax area Giving students the possibility to change scenery and pull back from the main work area, in the "family room"

Through close observation and analysis of our interviews’ informants, the current atmosphere of the relax area has been a subject matter often described as clinical, unwelcoming and unfriendly. By moving the relax area on the North side where the daylight situation is sufficient (in the middle of the work area, as well as away from it), we aim to acommodate students with a hyggelig or cozy atmosphere that compliments the light from the rest of the workroom, by the use of diffuse, dimmable and visually comfortable light.

Light areas predominantly below eyelevel induce a feeling of informal or cozy atmosphere (Kelly, 1952). The design framework below follow this model and is to be tested in the future.

Ambient luminescence — indirect and diffused lighting, and/or standing luminaires with dimmable control

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Focal glow — lower side-lighting that creates a more informal and friendly atmosphere

Play of brilliance — spot lights above the structured panels, which can excite the eye

Inspiration

In Denmark, light levels are not constant.

They change during the day, as does the way in which the human eye registers light. The sun moves during the day, casting shadows, and clouds blot out the sunlight, leaving natural lighting levels hard to control. (Bille, 2013).

Lounge spaces fitting for the relax area’s criteria for a mobile, flexible control and cosy atmosphere inducing light (source: Platov Airport, Pinterest

Product example that follows our relax area’s criteria for a mobile, flexible control and cosy atmosphere inducing light: Dawn to Dusk by Haberdashery (source: www.haberdashery.com)

Part conclusion

The lighting in the relax area should depict a cozy atmosphere by means of using playful, textured and interactive light. This space should allow for flexible control and promote emotional wellbeing among students.

More than one light color integration is to be considered, in order to meet students’ individual needs and to enclose more visual creativity.

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06 FINAL PROPOSAL AND EVALUATION

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Vision board for the final design

After evaluating our findings from the various experiments and further research, we compiled a final design proposal containing the following key lighting elements:

Peripheral cove lighting

Central accent lighting

Light grazing on partitions

uniform gradient lighting along the north and south walls eliminate dark corners and maintains the feeling of spaciousness when daylight disappears and complements the daylight when it is lacking.

Track spotlights hidden behind the ceiling baffles create controlled zones of light on the furnishings in the central area, bringing focus to the informal meeting spaces.

Downlights placed above the third workspace panel graze light across the structured metallic surface, creating a a play of brilliants that changes appearance from different perspectives.

DIALux view showcasing the peripheral cove lighting (source: self produced)

DIALux view showcasing the new central area lighting (source: self produced)

DIALux view showcasing the new partition layout & lighting (source: self produced)

Backlit acoustic baffle ceiling The suspended ceiling in the central exchange area is replaced with an open acoustic baffle system allowing the indirect light bounced off the white ceiling above to pass through. In turn, the undulating baffles become a soft, layered luminous surface themselves while protecting the eye from possible indirect glare from the high luminance of the reflecting surface above them.

Acoustic baffle system product example: Arktura Atmosphera (source: www.arktura.com)

Magnetic track system A recessed low-voltage magnetic track system includes both diffused light and spotlight elements designed specifically to conform to workspace lighting standards.

Luminaires can be reconfigured or replaced without tools and are individually wirelessly controllable, both in light output and in color temperature (diffuse elements only).

Product example: XAL Move it 45 Office System (source: www.xal.com)

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06 FINAL PROPOSAL AND EVALUATION Final proposal - tested luminaires

General lighting Tested Product Luminaire Type Connected load Luminous flux luminaire CCT, CRI Luminous efficacy Lifespan light source Fixtures used

LED Linear - XOOCOVE IP40 LD15 60D Linear LED profile, clear cover 24W/m 1140 - 2610 lumen/m Tuneable White (2200K-5000K), CRI 85 ~113 lm/W ~60.000h 69,6 m

LED Linear - XOOCOVE IP40 LD10 DR Linear LED profile, opal cover 12W/m 520 - 1270 lumen/m Tuneable White (2200K-5000K), CRI 85 ~106 lm/W ~60.000h 68,2 m

ERCO - Eclipse S LED track spotlight, spot optic 29° 10W 624 lumen 3000K, CRI 92 60 lm/W ~50.000h 6 pcs.

ERCO - Eclips S LED track spotlight, wallwasher 10W 633 lumen 3000K, CRI 92 61 lm/W ~50.000h 3 pcs.

Linear Light Tracks/Profiles Adjustable downlights Spotlight Wallwasher

Accent lighting Tested Product Luminaire Type Connected load Luminous flux luminaire CCT, CRI Luminous efficacy Lifespan light source Fixtures used

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180°

180° 150°

150° 120°

120°

900 cd

90°

3900 cd

90°

60°

60°

Work area lighting Tested Product Luminaire Type Connected load Luminous flux luminaire CCT, CRI Luminous efficacy Lifespan light source Fixtures used

C0/C180 C90/C270

0°

30°

XAL - Move it 45 Microprismatic UGR<19 linear LED track module, L:1205mm 34W 3000 lumen Tuneable White (2700K-5000K), CRI > 90 88 lm/W ~50.000h 17 pcs. (1 per workspace)

C0/C180 C90/C270

0°

30°

XAL - Move it 45 Just 55 LED track spotlight, beam angle 28° 17W 1120 lumen 3000K, CRI > 90 62 lm/W ~50.000h 17 pcs. (1 per workspace)

Improved Light Quality

Efficacy and Maintainence

iGuzzini - Laser Blade L Trimless Adjustable recessed LED Luminaire, flood optic 30° 6W 329 lumen 3000K, CRI > 90 64 lm/W ~50.000h 42 pcs.

With the exisiting luminaires demonstrating a luminous efficacy of around 40 lm/W, all new luminaires are much more efficient.

Additionally, the existing light sources have an average lifespan of around 20.000h, less than half that of the new luminaires, resulting in lower maintainence needs.

By implementing track luminaires where possible, revision and reconfiguration of the luminaires can be done without professional electricians, greatly increasing flexibilty and reducing costs.

All luminaires tested use integrated LED light sources with a color rendering index (CRI) of 85 or higher. The improvement in light quality can be seen in the more homogenous spectral power distribution (SPD) in comparison to the existing light sources.

— existing light source

— LED, 3000K, CRI 90 (example)

source: www.lighting.philips.com

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06 FINAL PROPOSAL AND EVALUATION Final evaluation of the proposal Implementation and technical lighting characteristics of the final design proposal

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In addition to creating a comfortable and inviting atmosphere, the new studio lighting must meet several requirements for workspaces and educational institutions set by the European Standards (EN 12464-1). Using DIALux to simulate the final proposal (electrical light calculated without daylight) showed that all targets for maintained average illuminance (Eavg) and uniformity (Uo) are met. Additionally, as the workspaces and the exchange area both are functional spaces for visual communication between students, cylindrical illuminance levels are also of great importance. Moreover, the ratio between the horizontal and cylindrical illuminance values, known as Modelling, must be with in a certain range to ensure good facial recognition and avoid harsh shadows. By fulfilling each of these targets, the new lighting systems ideally supports productivity and communication.

Glare By implementing indirect light from hidden light sources, maintaining optimum luminance distribution ratios within individual spaces and using luminaires with a Unified Glare Rating (UGR) < 19, the potential for glare has been largely eiliminated and therefor visual comfort is acheived.

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06 FINAL PROPOSAL AND EVALUATION Final proposal Our research has shown that both dynamic and individual lighting control can positively impact productivity and well-being as well as strengthen the identity of the user as a part of their working community. By integrating automated and dynamic systems that allow the electical light to complement the daylight, the studio becomes a more beneficial space for the students to spend extended time in. A combination of automation and sensors for dynamic adjustment assist in maximizing the harmony between the electrical light and daylight while also reducing energy costs. Additional localized control allows each workspace to be adjusted to individual lighting needs, in turn increasing comfort and helping the students identify with their workspace.

Illustration made in Revit and Illustrator, visualising the key elements of the final proposal (source: self produced)

Control and dynamics

Exterior daylight sensors detect the amount and type of daylight, allowing for automatic adjustment of electrical light levels and colour temperature to best compliment it. This element is essential in optimizing energy consumption.

Strategically placed presence detectors allow the general lighting to be activated only when needed. Empty workspaces shut off when left empty and empty studios can no longer be left illuminated after the last person has left.

A central control unit combines information from switches and sensors to actively and dynamically control light levels and color temperature throughout the studio.

The diffused light in each workspace is synchronized with the general lighting, both in luminous flux and in colour temperature of the whole studio in order to ensure the benefits of double dynamic lighting. Each workspace can switch this light on or off via remote control as desired.

The direct task light can be fully adjusted as desired in each workspace via remote control. By giving students two simple controls, each space can be tailored to the task at hand or desired atmosphere.

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Color temperature range during the day (source: up - Zumtobel; down - self produced)

Human Centric Lighting

early morning

early morning

midday

afternoon

evening

3000K

4000K

5000K

4000K

3000K

Tuneable white luminaires with a correlated colour temperature (CCT) range allow the indirect and diffused electrical light sources to follow the principles of human centric lighting. During midday hours, the electrical light’s cooler CCT (ca. 5000 K) mimics the daylight, as does the warmer CCT (ca. 3000K) during the early and late hours of the day. Smooth transitions between warm and cool light throughout the day, like the natural daylight, are proven to have positive effects on the user’s biological rhythm and improve physical and mental wellbeing.

Complementing daylight dynamically dynamic design

illumination levels

existing lighting

daylight first student arrives

last student leaves

As the studios benefit from large amounts of daylight, the electrical light should only complement, not compete with it.

If illumination needs are met by daylight, the electrical light is dimmed down or switched off. As daylight disappears, the electrical light will supplement it in order to maintain proper illumination levels. In this way, with the help of exterior daylight sensors, the amount of electrical light is adjusted dynamically to complement the daylight.

Saving Energy with Automation Although the new lighting solution in a static configuration would consume more energy than the existing installation, automated dynamic control and individual adjustment options greatly reduce the systems energy consumption. By running light simulations with different daylight situations, the electrical lighting levels in both the workspace and general lighting can be drastically reduced while still maintaining the illumination needs throughout the space.

On the following pages, we demonstrate three scenarios throughout the day as a basis for calculating the adjusted power consumption according to the electrical lighting needs. Although highly unlikely, all workspaces are assumed occupied for the entire day in the calculations. By allowing each workspace to be seperately controlled, additional reductions in energy consumption will be achieved.

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06 FINAL PROPOSAL AND EVALUATION

General Lighting: Central Area: 30%, 5000 K Peripheral Cove: 10%, 5000K Screen Downlights: off Spots Central Area: 100%, 3000K Workspace Lighting: Diffused Light: off Spotlight: 50%, 3000K

Light Scene Morning/ Afternoon Daylight: December 21, 15:00, Overcast Sky General Lighting: Central Area: 60%, 4000 K Peripheral Cove: 50%, 4000 K Screen Downlights: 50%, 3000K Spots Central Area: 100%, 3000 K Workspace Lighting: Diffused Light: 50%, 4000K Spotlight: 70%, 3000K

Light Scene Evening Daylight: No Daylight General Lighting: Central Area: 100%, 3000 K Peripheral Cove: 100%, 3000 K Screen Downlights: 100%, 3000K Spots Central Area: 100%, 3000 K Workspace Lighting: Diffused Light: 100%, 3000K Spotlight: 100%, 3000K

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DIALux simuation of the workroom lighting; morning/ afternoon scenario (source: self produced)

Daylight: June 21, 12:00, Overcast Sky

DIALux simuation of the workroom lighting; evening scenario (source: self produced)

Light Scene Midday

DIALux simuation of the workroom lighting; midday scenario (source: self produced)

Light scenes examples

Illumination Levels Reference Circulation Area Average: 173 lx Exchange Area Average: 219 lx

Illumination Levels Reference Circulation Area Average: 165 lx Exchange Area Average: 245 lx

Illumination Levels Reference Circulation Area Average: 145 lx Exchange Area Average: 271 lx

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07 CONCLUSION In a few words...

At the beginning of this design experiment project, we identified the need for the future university campus to adapt to changing learning methods and needs of its growingly diverse student body. As digitalization shifts the focus of higher education away from the physical classroom, we identified the need to offer attractive and multifunctional spaces for students to learn and gladly spend time in which, in return, foster interdisciplinary communication, supports productive teamwork and caters to individual students needs and wellbeing.

At AAU especially, where the student and their interactive, interdisciplinary learning methods are at the core of the university’s identity, it became clear that the current spaces dedicated to groupwork and collaboration require a new and innovative design to better support it’s functionality for future education. Our vision for a new scalable spatial and lighting design concept aimed to transform the existing monotone workrooms into truly multifunctional, flexible, and sustainable spaces in which students can work, collaborate, and live better.

In a detailed analysis of one of the workrooms, the current lighting, materials, and controls were identified as technically, functionally and atmospherically insufficient. In identifying the various functions of the workroom, we could optimally use new light and materials to redesign the space and give it more structure to better support it’s multifunctionality.

Doing this while maintaining flexibility, meeting standards, improving user wellbeing and strengthening the student’s identity as an integral part of the AAU became key to the success of our final design proposal.

By evaluating several different solutions developed based on our analysis, research, digital simulations, and physical testing, we were able to develop a final proposal that meets the success criteria for the student workroom of the future at AAU. The new ceiling and partition system with integral and flexible lighting solutions reactivates the central area as a spacious and welcoming communal area in which students can better interact and collaborate with one another. By improving the use and perception of daylight and complimenting it dynamically with electrical light, the new design allows for more efficient use of the entire space while positively affecting student productivity and wellbeing. The systems give the students a more defined and personal groupwork and lounge spaces that can adapt to their individual needs, in turn strengthening their identity as part of the AAU community.

Additionally, by upholding standards, reducing and optimizing energy consumption and maximizing flexibility, our dynamic design concept for the new living studios is a viable and optimal solution in which future students can better work, relax, and exchange with one another.

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3D rendering visualisation made in Cinema4D of the final design solution; time of the day: morning (source: self produced)

3D rendering visualisation made in Cinema4D of the final design solution; time of the day: late afternoon (source: self produced)

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08 PERSPECTIVE Future work and initiative

Next steps towards validation and implementation of our design proposal would include: As a means of measuring our hypothesis of the positive outcomes of our design, wellbeing reports from the ministry of higher education could help prove the positive benefits if the design was implemented. This could also validate our commitment to the SDG’s.

In combination with controlled simulations, further interviews with the current users with could be carried out as well to test our hypothesis.

Different materials and/or systems for the “wave” ceiling in the central exchange area should be tested. Additional tests with varied light sources and distributions should be carried out to evaluate the best solution for the light effect that we concluded on, as well as to find the most sustainable solution.

If the concept should be scalable to different architectural layouts, a set of design parameters could be extruded from our findings and synthesized into a set of design guidelines.

A 1:1 Mock-up of small sections could provide a proof of concept before full scale implementation.

The suggested daylight control systems should be tested on site.

Further exploration into suitable solutions for the relax area is needed.

As it is the least defined and most playful of the functional areas (with great potential for influencing emotional wellbeing), interactive testing with students would be a great approach to completing this wonderful tabula rasa:

DIALux simuation of the promising relax area (source: self produced)

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Missouri [Online] Available at: www.journals.sagepub.com/doi/pdf/10.1177/0894845308325646 (Accessed: 14 Dec 2020) Saraiva T., Almeida M., Bragnca L., Barbosa M. (2018). Environmental Comfort Indicators for School Buildings in Sustainability Assessment Tools [Online] Available at: https://www.mdpi.com/2071-1050/10/6/1849/htm (Accessed: 14 Dec 2020) Schwab, K. (2015). The Forth Industrial Revolution. New York: Foreign Affairs.

Tregenza, P. and Loe, D. (2014). The Design of Lighting. 2nd edition. London and New York: Routledge Tridonic, Fagerhult, iGuzzini, Zumtobel, Aalborg University Copenhagen (2020). Double Dynamic Lighting — Bringing Qualities of Natural Light into the Office Waskett, R. K. (2018). The Power of Daylight Design [Online] Available at: www.hoarelea.com/2018/09/07/the-power-ofdaylight-design (Accessed: 14 Dec) Yu, C., Yoon, H. (2010). The Role of Colour in Health and Wellbeing of the Built Environment [Online] Available at: www.tinyurl. com/y7ox9jwt (Accessed: 14 Dec 2020) Schledermann, K., Pihlajaniemi, H., Sen, S., & Hansen, E. K. (2019). Dynamic Lighting in Classrooms: A New Interactive Tool for Teaching. In A. L. Brooks, E. Brooks, & C. Sylla (Eds.), Interactivity, Game Creation, Design, Learning, and Innovation: 7th EAI International Conference, ArtsIT 2018, and 3rd EAI International Conference, DLI 2018, ICTCC 2018, Braga, Portugal, October 24–26, 2018, Proceedings (pp. 374-384). Springer.

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