{"id":3356,"date":"2026-09-14T13:22:08","date_gmt":"2026-09-14T12:22:08","guid":{"rendered":"https:\/\/ls2026.aau.dk\/?page_id=3356"},"modified":"2026-09-14T13:50:00","modified_gmt":"2026-09-14T12:50:00","slug":"session_10-abstracts","status":"publish","type":"page","link":"https:\/\/ls2026.aau.dk\/?page_id=3356","title":{"rendered":"Session_10-Abstracts"},"content":{"rendered":"\n\n\nLight, Architecture and Spatial Experience — Parallel Paper Session<\/title>\n<!--\n \u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\n PAPER SESSION 10 \u2014 Light, Architecture and Spatial Experience\n Light Symposium 2026 \u00b7 Friday 10:00-12:00 \u00b7 Room D\n\n 1. Paste everything below the <\/style> tag into a Custom HTML\n block (or the whole file into a blank\/Elementor HTML template).\n 2. The <style> block is identical on all session pages, so it can\n also live once in Appearance \u2192 Customize \u2192 Additional CSS.\n 3. PREV \/ NEXT LINKS: two href=\"#\" placeholders sit at the bottom\n of the page. Replace them with your page addresses:\n previous Non-Visual Effects and Circadian Lighting\n next Methods for Practice: Language, Frameworks and Participation\n Example: href=\"https:\/\/ls2026.aau.dk\/?page_id=1234\"\n 4. Abstracts only \u2014 no full papers are published here. If a PDF is\n ever cleared for publication, add this line inside .paper-meta:\n <a class=\"paper-pdf\" href=\"FILE-URL\">Download full paper (PDF)<\/a>\n No JavaScript is used \u2014 abstracts open with native <details>.\n \u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\n-->\n<link rel=\"preconnect\" href=\"https:\/\/fonts.googleapis.com\">\n<link href=\"https:\/\/fonts.googleapis.com\/css2?family=DM+Sans:ital,opsz,wght@0,9..40,300..700;1,9..40,300..700&family=DM+Serif+Display&display=swap\" rel=\"stylesheet\">\n<style>\n :root {\n --red: #b02525;\n --red-deep: #9f0000;\n --pink-soft: #ffe0e5;\n --pink-border: #ffb2bf;\n --ink: #1a1d23;\n --muted: #6b7280;\n --paper-bg: #ffffff;\n }\n * { box-sizing: border-box; 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cursor: default; }\n .paper-id { font-size: 0.76rem; color: var(--muted); letter-spacing: 0.04em; }\n\n \/* \u2500\u2500 prev \/ next \u2500\u2500\u2500\u2500\u2500\u2500\u2500\u2500\u2500\u2500\u2500\u2500\u2500\u2500\u2500\u2500\u2500\u2500\u2500\u2500\u2500\u2500\u2500\u2500\u2500\u2500\u2500\u2500\u2500\u2500\u2500\u2500\u2500\u2500\u2500\u2500\u2500\u2500\u2500\u2500\u2500\u2500 *\/\n .session-nav {\n display: flex; justify-content: space-between; gap: 14px;\n margin-top: 52px; padding-top: 26px; border-top: 2px solid var(--pink-border);\n }\n .session-nav a {\n font-size: 0.88rem; font-weight: 600; color: var(--red);\n text-decoration: none; max-width: 46%;\n }\n .session-nav a:hover { text-decoration: underline; }\n .session-nav .dir { display: block; font-size: 0.7rem; letter-spacing: 0.12em; text-transform: uppercase; color: var(--muted); margin-bottom: 4px; }\n\n @media (max-width: 640px) {\n .session-head { padding: 30px 22px 28px; }\n .paper { gap: 16px; padding: 24px 0; }\n .paper-num { min-width: 34px; font-size: 1.3rem; }\n }\n @media (prefers-reduced-motion: reduce) {\n * { transition: none !important; }\n }\n<\/style>\n\n\n<div class=\"session-page\">\n\n <nav class=\"crumb\" aria-label=\"Breadcrumb\">\n <a href=\"https:\/\/ls2026.aau.dk\/?page_id=93\">Programme<\/a> <span>\u203a<\/span> <span>Friday · Parallel Paper Sessions<\/span>\n <\/nav>\n\n <header class=\"session-head\">\n <p class=\"session-eyebrow\">Parallel Paper Session 10<\/p>\n <h1 class=\"session-title\">Light, Architecture and Spatial Experience<\/h1>\n <ul class=\"session-facts\">\n <li>Friday<\/li>\n <li>10:00 \u2013 12:00<\/li>\n <li class=\"room\">Room D<\/li>\n <li>7 papers<\/li>\n <\/ul>\n <p class=\"session-desc\">\n Light as it is met in buildings, from Barrag\u00e1n’s house-studio and M\u00fcther’s Hyparschale to an Expo pavilion, Bruce Goff’s interiors, a Thai old city, a small-town library and a skylight replacement.\n <\/p>\n <p class=\"session-chair\">Session chair: <strong>To be announced<\/strong><\/p>\n <\/header>\n\n <p class=\"papers-label\">Presentations in this session<\/p>\n\n <!-- \u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550 PAPER 01 \u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550 -->\n <article class=\"paper\" id=\"paper-30\">\n <div class=\"paper-num\" aria-hidden=\"true\">01<\/div>\n <div class=\"paper-body\">\n <h2 class=\"paper-title\">Technopoiesis; an instrumental & perceptual journey of a light experience<\/h2>\n <p class=\"paper-authors\">Rodrigo Eduardo Muro Avendano<\/p>\n <details class=\"paper-abstract\">\n <summary>Abstract<\/summary>\n <div class=\"paper-abstract-text\">\n <p>The presented explorative paper is an exercise that articulates and confronts two distinct perspectives in the analysis, and therefore in the understanding, of the impact of light on space and of its perceptual condition. A critical dialogue is established between a personal, situated, and experiential narrative and a quantitative investigative approach grounded in the registration and measurement of the luminous phenomenon. Quantity and quality, objectivity and subjectivity, instrumentation and lived experience are simultaneously revealed and called into question.<\/p><p>Can a first-person approach, infused with emotional and poetic nuances, truly be considered merely subjective? Is the instrumentalization of photometry and technical recording sufficient to grasp the phenomenology of illumination and the architectural encounter? These questions do not seek a simplistic dichotomy nor to polarize the standpoint of a researcher but rather expose the productive tension between both epistemological positions.<\/p><p>The paper is formulated from a case study, part of a PhD research, developed in the house-studio of the Mexican architect Luis Barrag\u00e1n, where photometric values were collected and interviews conducted, generating findings from a rigorous research perspective. In parallel, the immersive phenomenological experience of the researcher, as a temporary inhabitant of the space under study, produced a sensory impact that cannot be reduced to quantifiable data.<\/p><p>The paper\u2019s structure reinforces this conceptual structure by presenting two modes of inquiry in parallel, producing a visual and spatial form of communication in which their relationship becomes explicit and legible. In doing so, two interrelated threads unfold simultaneously: one grounded in technical precision, measurement, and empirical verification; the other guided by a more poetic sensitivity, attentive to atmosphere, affective memory, and the perceptual resonance of place. The production of the paper itself, the writing process, and the chosen style also functioned as a method of investigation, making the act of writing a form of technopoiesis, where creative, technical, and situated knowledge were co-produceded. In this way, two interwoven threads advance simultaneously: one grounded in empirical rigor, the other guided by situated knowledge and poetic sensitivity. Thus, the paper advances an expanded understanding of light as a phenomenon that is at once physical and existential.<\/p>\n <\/div>\n <\/details>\n <div class=\"paper-meta\">\n <span class=\"paper-id\">Abstract ID 30<\/span>\n <\/div>\n <\/div>\n <\/article>\n <!-- \u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550 PAPER 02 \u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550 -->\n <article class=\"paper\" id=\"paper-43\">\n <div class=\"paper-num\" aria-hidden=\"true\">02<\/div>\n <div class=\"paper-body\">\n <h2 class=\"paper-title\">Illuminating Iconic Architecture: The Hyparschale Lighting Story<\/h2>\n <p class=\"paper-authors\">Claudio Wettig, Raoul Hesse<\/p>\n <details class=\"paper-abstract\">\n <summary>Abstract<\/summary>\n <div class=\"paper-abstract-text\">\n <p>The Hyparschale in Magdeburg is a multi-purpose building on the bank of the Elbe River, built in 1969 by the structural engineer Ulrich M\u00fcther. Its roof, which consists of four concrete hyperbolic paraboloids, was declared a historical monument in 1998. Over time, neglect and disuse have turned this iconic building to ruin. This is where a citizens\u2019 initiative came in to save it from demolition. GMP Architects was commissioned to renovate the building, providing it with a new function while honoring its architectural heritage.<\/p><p>The lighting design of the Hyparschale was an important element of its restoration and contributed to the transformation of the building into a functional and modern place, emphasizing its architectural essence. Our challenge was to develop a lighting solution that is in playful dialogue with the building\u2019s geometry, while meeting the demands of modern functionality. In this presentation, we will share the story of how we reawakened this momentous building.<\/p><p>This lighting ideology comes to life in the tailor-made luminaires, developed to integrate seamlessly into the building, and in the decision to reduce the number of light points overall so as not to interfere with the historical character of the building.<\/p><p>Both during the design process and commissioning, we were faced with several challenges. These were the integration of emergency lighting, reduced mounting options for luminaires, and last-minute changes to the architecture.<\/p><p>The collaboration between architects, electrical engineers, the custom luminaire manufacturer, and the lighting design team was the key to bringing the building back to life and, as such, will be discussed.<\/p><p>Through the presentation of this case study, we will delve into how the past can inspire and influence a contemporary approach to help us understand current challenges we are facing as lighting designers.<\/p><p>Learning Objectives:<\/p><p>Understand the specific challenges involved in designing for a heritage building; for example, integrating lighting solutions that complement the structure’s geometry while minimizing visual disruption.<\/p><p>Reflect on the importance of teamwork between architects, engineers, manufacturers, and lighting designers in overcoming technical challenges and achieving a successful restoration.<\/p><p>Adapt and implement lighting solutions in response to last-minute detail changes, ensuring design integrity, functionality, and seamless project collaboration.<\/p><p>Learn about the process of creating custom luminaires that respect the building’s historical character while meeting modern lighting needs.<\/p>\n <\/div>\n <\/details>\n <div class=\"paper-meta\">\n <span class=\"paper-id\">Abstract ID 43<\/span>\n <\/div>\n <\/div>\n <\/article>\n <!-- \u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550 PAPER 03 \u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550 -->\n <article class=\"paper\" id=\"paper-57\">\n <div class=\"paper-num\" aria-hidden=\"true\">03<\/div>\n <div class=\"paper-body\">\n <h2 class=\"paper-title\">Guiding the Journey: Integrated Lighting Narrative in the Saudi Arabia Pavilion<\/h2>\n <p class=\"paper-authors\">Laura Suico<\/p>\n <details class=\"paper-abstract\">\n <summary>Abstract<\/summary>\n <div class=\"paper-abstract-text\">\n <p>The Saudi Arabia Pavilion for Expo 2025 Osaka provides a focused case study on the role of integrated lighting design in shaping perceptual, spatial, and environmental performance within a temporary architectural context. Designed by Foster + Partners, the Pavilion translates characteristic spatial features of a Saudi city\u2014narrow passages, shaded transitions, and open courtyards\u2014through a calibrated interaction of daylight, architectural lighting, and immersive digital media. Despite the accelerated timelines and logistical constraints, the Pavilion achieves CASBEE S, net\u2011zero operational carbon, and the WELL Health & Safety Rating, demonstrating the feasibility of aligning high environmental standards with rapid delivery. The project examines how lighting can structure a multi\u2011layered visitor journey while maintaining visual comfort, narrative coherence, and material clarity.<\/p><p>The methodology relied on an integrated digital\u2013physical workflow. Working within the fast\u2011paced context of an Expo demanded rapid iteration and close coordination, intensifying the need for clarity and agility across disciplines. With the design team based in London and the site in Osaka, digital lighting studies became an essential communication tool, establishing a shared visual language that supported coordinated decision\u2011making across disciplines and distance. High\u2011resolution 3D lighting simulations were used to assess reflectance behaviour, brightness hierarchy, and nighttime legibility, enabling the team to align design intent remotely.<\/p><p>These digital predictions were subsequently validated through full\u2011scale mock\u2011ups, which revealed material and perceptual nuances that computational models could not fully capture. The iterative process, moving between digital simulations and physical prototypes; ensured that the lighting strategy remained coherent, buildable, and responsive to real\u2011world conditions.<\/p><p>Several key findings emerged from this comparative study. Integrated lighting proved essential in maintaining narrative clarity across the visitor experience, supporting a deliberate balance between high\u2011intensity digital environments and architectural zones crafted to soften visual demand and encourage cognitive ease. The courtyard emerged as a key spatial anchor, fostering contemplation in daylight and sociability under evening illumination, thereby maintaining perceptual equilibrium along the sequence.<\/p><p>The comparison between digital simulations and full\u2011scale mock\u2011ups generated key insights into how the simulations should be interpreted. Variations in luminance distribution and material reflectance exposed the limits of digital prediction, particularly in complex geometries. These findings guided refinements to the lighting scheme, which were later validated through post\u2011occupancy evaluation, confirming strong spatial legibility and close alignment with the design intent.<\/p><p>A key outcome of the project was the reaffirmation of the essential role of lighting simulations and physical testing. In a broader context where AI\u2011driven rendering tools can generate imagery that is visually persuasive yet technically unreliable, the Pavilion underscores the importance of interrogating visual outputs rather than accepting them at face value. The comparative digital\u2013physical methodology proved indispensable for validating luminance hierarchies, understanding material behaviour, and ensuring that the lighting strategy supported both architectural intention and visitor experience.<\/p><p>Ultimately, the Saudi Arabia Pavilion demonstrates how integrated lighting design can operate as a coherent perceptual framework, linking narrative intent, material expression, and environmental performance within the constraints of a temporary structure. The case study affirms that rigorous simulation, physical calibration, and interdisciplinary coordination remain critical to achieving reliable and experientially meaningful lighting outcomes.<\/p>\n <\/div>\n <\/details>\n <div class=\"paper-meta\">\n <span class=\"paper-id\">Abstract ID 57<\/span>\n <\/div>\n <\/div>\n <\/article>\n <!-- \u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550 PAPER 04 \u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550 -->\n <article class=\"paper\" id=\"paper-67\">\n <div class=\"paper-num\" aria-hidden=\"true\">04<\/div>\n <div class=\"paper-body\">\n <h2 class=\"paper-title\">Light as spacial experience: Bruce Goff and his luminous environments<\/h2>\n <p class=\"paper-authors\">Hepi Wachter<\/p>\n <details class=\"paper-abstract\">\n <summary>Abstract<\/summary>\n <div class=\"paper-abstract-text\">\n <p>Introduction<\/p><p>This paper surveys scholarship on Bruce Goff\u2019s interior lighting, arguing that lighting is a primary generator of spatial experience rather than a postscript of architecture. Across theses, archival studies, and exhibition analyses, researchers converge on several core themes: lighting as an extension of architectural form and material, primacy of daylight with dynamic variation, use of light\u2013material interactions to achieve optical richness, a strong preference for custom luminaires and bricolage, and an experiential, \u201cGesamtkunstwerk\u201d approach. The Bavinger House serves as a clarifying case study where these themes are enacted at full scale, illustrating how Goff\u2019s luminous environments fuse light with form, materiality, and perception.<\/p><p>Discussion<\/p><p>Integrated lighting and architectural form, Goff\u2019s interior lighting emerges from architectural conditions rather than separate systems. Studies emphasize the \u201cluminous environment\u201d identify a total spatial condition rather than discrete light sources aligning with an early anticipation of lighting as a spatial medium, dissolving boundaries between object, surface, and illumination.<\/p><p>Daylight is Goff\u2019s central illumination strategy. He manipulates natural light through skylights, apertures, and reflective surfaces to create temporal, performative effects. Interiors are designed to respond to daylight\u2019s mobility and seasonal change, daylight acting as a dynamic medium and stage lighting or environmental art.<\/p><p>A persistent thread is Goff\u2019s fascination with light-responsive materials, mirror tiles, glass cullet, sequins, plastics, and metals, that amplify luminance of natural and artificial light sources through reflection, refraction, and texture. Rather than pursuing high illumination levels, Goff seeks perceptual richness and scintillation, integrating light as a material property activated by the surfaces within interiors.<\/p><p>Custom luminaires and bricolage Goff\u2019s rejection of standardized fixtures is well documented. Luminaires, often crafted from found objects, reinforce geometric and thematic concepts. Interiors function as assemblages, where lighting devices are inseparable from decoration and structure, reinforcing a holistic design philosophy.<\/p><p>Goff’s clients participate in shaping lighting narratives, positioning lighting as part of a personalized emotional experience. The interiors function as immersive, symbolic landscapes, an experiential Gesamtkunstwerk with atmosphere and narrative at its core. By design, lighting under Goff tends toward non-uniformity, contrast, and shadow, prioritizing perception and mood over conventional efficiency.<\/p><p>The Bavinger House epitomizes Goff\u2019s luminous environment. Its interior lacks conventional walls; vertically stacked \u201csaucers\u201d and a central mast distribute light across the volume. Continuous daylight, via a glass perimeter and a skylight band, operates as the principal luminous driver. Materials, ironrich sandstone, blue\/turquoise glass cullet, and water features, modulate light to create shimmer, glow, and movement. Vertical light gradients replace floor-by-floor zoning, with light defining programs and spatial orientation. Suspended elements diffuse light, yielding layered shadows and depth. The interior becomes a field of light that blurs inside\/outside boundaries and promotes a bodily, multisensory experience of space.<\/p><p>Findings<\/p><p>Lighting is inseparable from form, material, and concept; it functions as a total interior condition rather than a collection of sources. Within the total interior, daylight variability drives spatial perception, with light acting as a temporal medium that animates surfaces and forms.<\/p><p>Light\u2013material interactions produce optical richness such as reflection, refraction, diffusion, that substitutes for high luminance values. Goff\u2019s custom, improvised luminaires reinforce a bricolage aesthetic and architectural conceptual coherence. They support the sensuality of the spaces rather than dominating them. Interiors become immersive, multisensory experiences where light reveals hierarchy, movement, and narrative rather than simply illuminating tasks.<\/p><p>The Bavinger House demonstrates a scalable realization of Goff\u2019s principles: a daylight-first, field-like illumination that cross-cuts levels, enabling continuous perceptual engagement and synesthetic space.<\/p><p>Goff is an early innovator treating light as a primary architectural medium\u2014an approach that prefigures later phenomenological and experiential theories, and that resonates with contemporary interest in daylighting, material ecology, and multisensory architectural environments.<\/p>\n <\/div>\n <\/details>\n <div class=\"paper-meta\">\n <span class=\"paper-id\">Abstract ID 67<\/span>\n <\/div>\n <\/div>\n <\/article>\n <!-- \u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550 PAPER 05 \u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550 -->\n <article class=\"paper\" id=\"paper-125\">\n <div class=\"paper-num\" aria-hidden=\"true\">05<\/div>\n <div class=\"paper-body\">\n <h2 class=\"paper-title\">Luminous Layers: Temporal Light Perception and the Experience of City Identity in Chiang Mai Old City<\/h2>\n <p class=\"paper-authors\">Preechaya Navaraj, Vorapat Inkarojrit<\/p>\n <details class=\"paper-abstract\">\n <summary>Abstract<\/summary>\n <div class=\"paper-abstract-text\">\n <p>Nowadays, many cultural heritage cities utilize city identity to drive economic activity, particularly through the expansion of tourism into nighttime periods. In this context, lighting plays a crucial role in shaping urban nighttime experiences. However, in cultural heritage tourism cities in Thailand, such as Chiang Mai Old City, urban lighting development lacks a systematic framework. Lighting design is often limited to architectural-scale applications, and the implementation of urban-scale lighting masterplans remains constrained. Currently, the nighttime urban lightscape primarily serves safety functions, while its role in communicating cultural heritage identity receives less attention. Moreover, previous studies have predominantly focused on daytime visual perception, leaving the role of nighttime lighting relatively underexplored.<\/p><p>To address this gap, this study aims to examine the perception of city identity across temporal dimensions (daytime and nighttime) and user groups (locals and tourists), incorporating both spatial and emotional responses. It further seeks to identify factors influencing shifts in the perceptual structure of city identity and to synthesize these findings into design guidelines for an urban lighting masterplan grounded in user perception.<\/p><p>This research adopts a mixed-methods approach, integrating perceptual analysis with both qualitative and quantitative data. Data were collected using quota sampling from 80 site-based participants, equally divided between 40 local residents and 40 tourists. All participants had direct experience of the site, while individuals without overnight experience were excluded. Data collection was conducted concurrently and balanced across groups until thematic saturation was achieved.<\/p><p>The study examines spatial perception through cognitive mapping techniques using mental maps based on Lynch (1960), capturing variations across daytime and nighttime conditions. Spatial data were analyzed using GIS and overlay techniques, while emotional responses were explored through structured interviews and interpreted using the Pleasure\u2013Arousal\u2013Dominance (PAD) framework. The findings were then synthesized into design implications.<\/p><p>The results reveal significant differences in city identity across temporal conditions and user groups. Local residents perceive the city as a coherent and structured system, characterized by clearly defined edges and interconnected districts. In contrast, non-local users construct their perception through landmarks, nodes, and paths, shaped by short-term, experience-based interactions.<\/p><p>Across temporal conditions, local residents maintain relatively stable perceptions, consistently referencing spatial zones and functions. Conversely, tourists exhibit more dynamic perceptions, increasingly driven by experience rather than spatial structure. This distinction is further supported by interview data, where local residents show a higher proportion of references to specific place names at night (24.375%) compared to non-local users (6.875%). These findings suggest that locals maintain a tangible, spatially grounded perception, whereas the perceptual shifts among non-local users are primarily driven by intangible dimensions, with cultural activities and lighting conditions becoming dominant.<\/p><p>In terms of emotional responses, non-local users show a significant increase in positive affect at night (32.5%), surpassing local residents (22.5%), highlighting the role of nighttime environments in enhancing emotional engagement. In contrast, both groups exhibit higher negative responses during daytime conditions (Local: 16.875%; Non-local: 15%), indicating the limitations of daytime environments and the potential of nighttime settings to improve experiential quality.<\/p><p>Overall, the findings suggest that city identity is not fixed but a dynamic phenomenon shaped by time, user groups, and environmental conditions. Based on these findings, the study identifies fragmented perception, particularly among non-local users, as a key challenge resulting from the lack of spatial continuity.<\/p><p>Accordingly, urban lighting masterplans play a critical role in mediating perception. The findings suggest that urban lighting should be conceived as a dual-layer system, balancing structure-based legibility and experience-based atmosphere. While continuous lighting should reinforce spatial structure for orientation and coherence, localized lighting interventions should enhance experiential qualities and support activities to engage non-local users.<\/p>\n <\/div>\n <\/details>\n <div class=\"paper-meta\">\n <span class=\"paper-id\">Abstract ID 125<\/span>\n <\/div>\n <\/div>\n <\/article>\n <!-- \u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550 PAPER 06 \u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550 -->\n <article class=\"paper\" id=\"paper-142\">\n <div class=\"paper-num\" aria-hidden=\"true\">06<\/div>\n <div class=\"paper-body\">\n <h2 class=\"paper-title\">The Library as Lighthouse: Understanding how light may embody the purpose of a space and serve its community<\/h2>\n <p class=\"paper-authors\">Cassie Cummins<\/p>\n <details class=\"paper-abstract\">\n <summary>Abstract<\/summary>\n <div class=\"paper-abstract-text\">\n <p>Much has changed for public libraries by way of the internet. For some, these advances in technology call into question the relevance of the traditional library, as now any information one ponders can be found with a few taps on a phone. However, the physical form of the library cannot be separated from its conceptual form; the library is a public institution, a space people trust to have answers, provide resources and guide curiosity. It is free (accessible) and democratic by its very nature, making it a beacon within the community. Maintaining this physical flagship is just as important as the informational content it provides. How then could light be used to exemplify this civic identity and support user functionality? Using the Public Library housed in a landmark building from the late 1800s in a town in upstate New York (50.9K residents) as a case study, this paper explores and discusses how architectural and urban lighting design can serve community spaces.<\/p><p>The building was erected as a library in 1897 using a white Vermont marble; it is a two-story structure, design in the Italian Renaissance style. The building sits nestled in the downtown historic district, a neighborhood constructed over the years spanning 1787-1940. In its present form, the library is open six days per week, with visitors checking out books and utilizing the computers and internet. The library hosts a wide variety of events ranging from technology-assistance open houses to tax-assistance seminars, teen recreational gatherings, and drawing classes\u2014effectively acting as a community center of sorts.<\/p><p>Based on information by the Illuminating Engineering Society (IES), the neighborhood would be categorized as a Lighting Zone 2, qualifying it as an area with moderate ambient light. At the outset of the project, a survey was done of the existing conditions. The library has two public-facing facades: the West side and the South side of the building. At present, light levels are very low surrounding the primary entrance, however, light levels surrounding the secondary entrance are quite high, due to a single glaring flood light mounted above the doorway. The average illuminance on the horizontal plane measured 3-5 lx, but the floodlight lighting at the side entrance results in a 300-lx range, giving a sense for contrast from the single flood light in relationship to its surrounds.<\/p><p>Subsequently, the author created a set of design criteria based on background guidance and site research. Criteria were translated into strategies, and those strategies were further defined. The criteria were as follows: (1) that the exterior lighting should echo and elevate the present atmosphere of the neighborhood (warmer color temperatures, lower light intensity); (2) that the lighting should acknowledge the public nature of the building, that it should facilitate security and pedestrian safety; and (3) that it should uphold the historical integrity of this landmark building.<\/p><p>Based on the above, the schematic design for the library\u2019s exterior lighting was developed. In addition to detailing the important architectural elements of the building, it is specified within the design criteria that there should be higher illuminance levels at entrances, pathways and steps. To test schematic design details, a mockup was held at the library in March 2026 to inform the design proposal.<\/p><p>The mockup and design exploration revealed how much work the geometry of a building can do to amplify a relatively small amount of light. This is a wonderful metaphor for the civic function of community spaces. It is worth noting how few fixtures would be needed to achieve the effects of the conceptual design.<\/p>\n <\/div>\n <\/details>\n <div class=\"paper-meta\">\n <span class=\"paper-id\">Abstract ID 142<\/span>\n <\/div>\n <\/div>\n <\/article>\n <!-- \u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550 PAPER 07 \u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550\u2550 -->\n <article class=\"paper\" id=\"paper-87\">\n <div class=\"paper-num\" aria-hidden=\"true\">07<\/div>\n <div class=\"paper-body\">\n <h2 class=\"paper-title\">Can I get a sense of real daylight, please? – insulation improvement and daylight quality criteria<\/h2>\n <p class=\"paper-authors\">Katja B\u00fclow<\/p>\n <details class=\"paper-abstract\">\n <summary>Abstract<\/summary>\n <div class=\"paper-abstract-text\">\n <p>Energy renovation often requires replacing windows and skylights to improve building envelopes and meet current thermal standards. Although such interventions enhance energy efficiency, they may compromise architectural and experiential qualities that are difficult to quantify, particularly daylight. This paper examines the replacement of skylights during a roof insulation upgrade at the Royal Danish Academy in Copenhagen. It explores how daylight quality was negotiated, defended, and preserved while balancing contemporary energy requirements with the needs of an educational environment designed specifically for the study of daylight.<\/p><p>The case concerns two full-scale light studios in the Academy\u2019s Light Lab. The studios embody principles of architectural lighting design and serve as pedagogical tools for observing daylight as a spatial phenomenon. When additional roof insulation necessitated replacing the existing skylights, concerns arose about reduced daylight transmission, spectral distortion, and changes to the studios\u2019 architectural concept. The study asks which controversies emerged during the replacement process, how they shaped decision-making, and which conditions enabled a satisfactory outcome.<\/p><p>The research combines an investigation of the skylights\u2019 architectural and pedagogical contexts with an Actor-Network Theory (ANT) mapping of the skylight replacement process. ANT is used to identify the human and non-human actors involved and to trace the controversies through which decisions were negotiated. The empirical material comprises archived architectural drawings of the light studios, sources documenting daylight education through full-scale lighting setups at the Academy, and email correspondence among the human actors involved in the skylight replacement project. These materials were analysed to understand the significance of the skylights as part of the teaching concept made possible by the architecture of the light studios and to reconstruct the sequence of events concerning the skylight replacement project to visualise the actor network and identify the key controversies.<\/p><p>Three controversies structured the process. The first concerned selecting a skylight that met current thermal-transmittance requirements while maintaining high daylight transmission and minimal spectral distortion. The second concerned the additional cost of the preferred solution and the negotiations needed to secure funding. The third involved redesigning the skylight shafts after the roof was insulated, specifically whether to preserve the original architectural detailing or adopt a conventional construction solution.<\/p><p>The findings show that preserving daylight quality depended on the active participation of a Light Lab user representative. This involvement expanded the actor network and introduced concerns that might otherwise have remained invisible. The pedagogical and architectural significance of the studios operated as \u201cblack-boxed\u201d knowledge that other participants largely overlooked unless it was explicitly articulated. User involvement enabled alternative technical solutions to be considered, additional institutional support to be mobilised, and design details to be evaluated carefully on site. Although this increased complexity, cost, and time, it helped secure a solution that satisfied both energy-performance and daylight-quality objectives.<\/p><p>More broadly, the study demonstrates how daylight and other experiential qualities become vulnerable in energy renovation when decisions are governed primarily by technical compliance and<\/p><p>cost. Preserving such qualities requires tacit architectural and user knowledge to be made visible within project networks. The paper concludes that controversy can productively reveal hidden values and that active user participation is essential when specialised educational environments are transformed.<\/p>\n <\/div>\n <\/details>\n <div class=\"paper-meta\">\n <span class=\"paper-id\">Abstract ID 87<\/span>\n <\/div>\n <\/div>\n <\/article>\n\n <!-- Replace each href=\"#\" below with the WordPress page address -->\n <nav class=\"session-nav\" aria-label=\"Session navigation\">\n <a href=\"#\"><span class=\"dir\">\u2039 Previous session<\/span>Non-Visual Effects and Circadian Lighting<\/a>\n <a href=\"#\" style=\"text-align:right\"><span class=\"dir\">Next session \u203a<\/span>Methods for Practice: Language, Frameworks and Participation<\/a>\n <\/nav>\n\n<\/div>\n\n","protected":false},"excerpt":{"rendered":"<p>Light, Architecture and Spatial Experience — Parallel Paper Session 01 Technopoiesis; an instrumental & perceptual journey of a light experience Rodrigo Eduardo Muro Avendano Abstract The presented explorative paper is …<\/p>\n","protected":false},"author":6,"featured_media":0,"parent":3330,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-3356","page","type-page","status-publish","hentry"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO 4.9.9 - aioseo.com -->\n\t<meta name=\"description\" content=\"Light, Architecture and Spatial Experience \u2014 Parallel Paper Session 01 Technopoiesis; 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