OpremaProstora_raziskava

101

URBAN

EQUIPMENT

SMERNICE ZA URBANO OPREMO:

1.) Prepoznati talente in prednosti znotraj skupnosti:
• Multifunkcionalnost
• Medsebojna interakcija
• Varno okolje
Npr. Klopi z rožam - Sproščanje, druženje ob urejanju

2.) Narediti prostor, ne dizajn:
• Udobje in topel sprejem
• Prizorišče, dejavnost, uporaba – odražanje močne

skupnosti
Npr. Igrišča – igrala, klopi, športna oprema, mini teater

3.) Partnerji
• Institucije, muzeji, šole,..
Npr. Rekreacijski park narejen v sodelovanju z in-
stitucijo (Urban Amenities)
4.) Veliko se lahko naučimo
zgolj iz opazovanja
• Kako lahko ljudje prostor uporabljajo?
• Kakšne aktivnosti manjkajo?
Npr. Otroška igrala

5.) Imej vizijo
• Vizija mora priti iz skupnosti
• Določanje dejavnosti
Nprr. Husein Bin Talal Park (skate park, športno igrišče,
rekreacija, amfiteater,..)

102

103

51 | Stebri kot svetlobniki 6.) Začni z peturijami
• svetlejše, hitrejše, ceneje
52 | Lesene klopi z glasbili • kompleksnost javnega prostora (zahtevnost)
• eksperiment:
53 | Viseče mreže sedenje, zunanje kavarne (kavarne na prostem),
umetnost, skupni vrtovi, stenske poslikave
54 | Paviljon z igro barvne sveltobe Npr. Urban Bloom

104 7.) Trikotnost
• Združevanje/povezovanje
• Spodbujanje interakcije med tujci
Npr. Pop-Up! Street Furniture – klopi

8.) Vedno pravijo, da ne more biti narejeno
• Ovire – kompleksnost + malo merilo
Npr. Podiranje ovir (Common Unity

9.) Forma podpira funkcijo (MAJHEN
POSEG=DRAMATIČNO IZBOLJŠANJE)
• Kakšno formo/obliko potrebujem,da bo pros-

tor funkcioniral tudi v prihodnosti?
Npr. Red Ribbon Park – naravne danosti, obsto-
ječe zelenje, osvetlitev, sedišča, orientacija

10.) Denar ni težava
• Vključevanje družbe – ugodne rešitve
Npr. Igrala za migrantske otroke v Bar Elias, Leb-
anon

11.) Nikoli nisi končal
• Tudi, ko se nam zdi, da je prostor končan ved-

no rabi spremembe in dogodke
• Odprtost za spremembe
• Fleksibilnost
Npr. Green Cloud (rekonstrukcija
streh)

105

FACADE

INTERVENTIONS

Fasade so različno oblikovane in imajo med seboj ra-
zlične funkcije. Nekatere nam sporočajo kaj se nahaja
v notranjosti, druge želijo narediti povdarek v prostoru,
spet druge želijo biti popolnoma anonimne...
Z različnimi razmisleki lahko s fasadami privabimo
ljudi v stavbo ali pa obratno notranjost povežemo z
zunanjostjo. S fasado lahko animiramo ljudi z enakimi
interesi, da se družijo. Fasada je ovoj stavbe, ki nam že
na prvi pogled pove v kakšnem stanju je stavba, ki jo
gledamo, kakšen program ponuja, kakšen kontekst
ima do okolic, ali je stavba javna ali zasebna in katere
ljudji lahko pričakujemo v notranjosti.
To so tipi fasad, ki so nam bili v razmislek in vprašanje
kakšnih fasad si želimo v Izoli, na hišah v Cankarjevem
drevoredu.

106

107

55 | Fasada kot kulisa TIPI FASAD:

56 | Izražanje skupnosti FASADE ZA VSAKODNEVNO UPORABO
Umeščanje dejavnosti na fasado, ki povezujejo
57 | Vremenski pogoji ljudi z enakimi interesi ter jih vzpodbudi v med-
sebojno druženje in spoznavanje. > Povečanje
58 | Zelene fasade obiskovalcev in medsebojne interakcije ljudi.

108 FASADE KOT KULISE
Največkrat se s tem srečamo pri trgovinah in nji-
hovih izložbah, lahko pa tudi pri objektih drugega
namena. Bistvo je, da pritegne pozornost

obiskovalca ali pa da v notranjost približa zunanjo
okolico. > Povečanje števila obiskovalcev in pre-
hajanje zunanjosti v notranjost.

IZRAŽANJE SKUPNOSTI
Nekatere skupnosti izražajo svoje mnenje na
fasado stavb. Najbolj znan način so grafiti. > ULIČ-
NA UMETNOST.

VREMENSKI POGOJI
Določajo kakšna je najbolj primerna fasada za
določen kraj na zemlji. Npr. Na severu Evrope hiše
v toplejših odtenkih – rdeča, rumena... ker dajejo
občutek toplote, dejansko pa so temperature niz-
ke. > “Optične prevare”, ki delujejo na psiho ljudi.

ZELENE FASADE
Fasade tesno povezane z naravo, ki ji dovolijo, da
jih preraste in ustvari posebno teksturo in učinek
v prostoru. Ljudem v mestih, ki imajo praviloma
manj zelenja kot na podeželju to veliko pomeni. >
pozitiven odnos do narave

109

LIGHTING

ELEMENTS

AND UPPER ELEMENTS

Svetloba je pomemben dejavnik, saj vpliva na naše
počutje, produktivnost in zdravje. Ustrezna razsvetlja-
va je osnovna zahteva in potreba vsakega objekta ter
zunanjih površin. Lastnosti dobre razsvetljave so:
1. vidna sposobnost (nivo osvetljenosti, omejevanje
bleščanja)
2. vidno udobje (harmonična porazdelitev svetlosti,
barva in reprodukcija barve) ter
3. vidno okolje (barva svetlobe, smer svetlobe, mode-
liranje oz. sence).
Razsvetljavo ločimo na več področij:
1. razsvetljava cest in ulic,
2. razsvetljava površin za pešce in kolesarje,
3. razsvetljava predorov,
4. razsvetljava pokritih površin,
5. zunanja praznična razsvetljava,
6. osvetlitev fasad in kulturnih spomenikov.

110

111

ARTIST Njegovi najbolj znani projekti so:

DORIJAN ŠIŠKO Being is hard (posterji, 2018-2019) As a millennial
existence is painful. Scattered into metaphysical
space I’m finding myself again trough design. Be-
ing is hard, tnx design.
Tribe (razstava, 2017)
Project TRIBE focuses on exploring the fulfilment
of basic human needs in the future. His research
is driven by two central questions: how can man
fulfil his basic needs in the coming post-virtual so-
ciety, and how does the intertwining of the virtual
and the real influence design, and vice versa.

Wellness (Razstava, ilustracija, grafično oblik-
ovanje; 2018)
... In the work WELLNESS, he focuses on ele-
ments of rest and relaxation in the same reality,
but without taking a stance. It, therefore, remains
open to discussion and for the viewer
to decide whether this is a utopia or dystopia.

Nekaj priznanj in nagrad, ki jih je prejel:

Projekta ALUO LXX in Endemic Relations izbrana
v ožji izbor Zgraf oblikovalskega festivala
Zagreb, Croatia, 2017

Del zbirke umetniških knjig MoMA z dvema Face
to Face: Blind date publikacijami
New York, USA, 2016

Finalist za EURO LUDO projekt

EMME Young Scenographers Contest
Graz, Austrija, 2015

Dorijan Šiško je grafični oblikovalec, ki se ukvarja z Ožji izbor za plakate Freštreš: Ikigusare
ilustracijo, animacijo ter inštalacijsko in multimedi- na 7. Bienalu Vidnih Sporočil Slovenije Brumen
jsko umetnostjo. Skozi svoje ustvarjanje raziskuje Ljubljana, Slovenija, 2015
teme, kot so: digitalna kultura, internet, futurizem,
virtualnost, ipd. Zaključil je šolanje na Akademiji Priznanje od Ministrstvo za izobraževanje, zna-
za likovno umetnost in ublikovanje, smer grafično nost in šport za odlične rezultate na mednarodnih
oblikovanje. oblikovalskih tekmovanjih
Sodeloval je na različnih razstavah, je soustano- Ljubljana, Slovenija, 2015
vitelj kulturno - ujmetniškega društva Kombajn
in eden od ustanoviteljev umetniško-oblikoval- Ožji izbor za revijo freštreš na Dan-D mednarod-
skega kolektiva freštreš, bil pa je tudi likovni ured- nem oblikovalskem festivalu
nik družbenokritičnega študentskega časopisa Zagreb, Hrvaška, 2014
Tribuna, za čigar oblikovanje je prejel Brumnovo
nagrado. Ožji izbor za revijo freštreš: EGO
na 6. Bienalu Vidnih Sporočil Slovenije, Brumen
Ljubljana, Slovenija, 2013

112

113

59 | Razmislek o konceptu Letošnje študijsko leto smo se pri izbirnem pred-
metu Oprema prostora ukvarjali s prenovo ek-
60 | Razmislek o konceptu sterierja ulice Cankarjev drevored v Izoli. Naša
naloga je bila, da si izberemo umetnika, s katerim
61 | Razmislek o konceptu smo v nadaljevanju pripravili predlog renovacije.

62 | Razmislek o konceptu K sodelovanju smo povabile grafičnega oblikoval-
ca Dorijana Šiška (roj.1990). Šolanje je zaključil
114 na Akademiji za likovno umetnost in oblikovan-
je v Ljubljani, smer grafično oblikovanje. Dorijan
se ukvarja z vizualno umetnostjo, predvsem ga
njegovo raziskovanje in ustvarjanje tudi na druga
območja kot sta ilustracija, multimedija in sodo-
bna umetnost. Raziskuje digitalno kulturo, inter-
net, futurizem, znanstveno fantastiko, tribalizem,
popularno kulturo in drugo. Bil je likovni urednik
družbenokritičnega časopisa Tribuna ter zanj do-
bil Brumnovo nagrado. Je eden izmed soustano-
viteljev kulturno-umetniškega društva Kombajn
in umetniško-oblikovalskega kolektiva freštreš, ki
izdaja svojo revijo in organizira razstave. Sodeloval
je na rastavah v KUD Kibla, Kinu Šiška, DobriVagi,
Slovenskem narodnem muzeju, Moderni galeriji,
MGLC, GT22 in Jakopičevi galeriji. V svojih delih
uporablja igrivost in humornost.

Ena izmed njegovih bolj odmevnih razstav je im-
enovana Tribe, kjer je predstavil alternativo sveta
v katerega smo trenutno vrženi. Predstavil je in-
teraktivno plemensko vas, znotraj katere v alter-
nativni prihodnosti posameznik zadovoljuje svoje
osnovne potrebe. Sam delo opiše kot »post-vir-
tualen zabaviščni park prihodnosti«. Pri ustvar-
janju razstave se je osredotočil na raziskovanje
izpopolnjevanja osnovnih človekovih potreb v
prihodnosti. Uporabil je močne neonske barve in
neobremenjeno barvno kompozicijo.

V delu WELLNESS se osredotoča na element
počitka in sporstitve v tej isti realnosti, vendar se
do nje ne opredeljuje. Ostaja odprto in gledalcu
v presojo ostaja ali gre za utopijo ali za distropijo.

Nekaj njegovih del:

zgoraj levo: Various
zgoraj desno: Wellness
spodaj levo: Mieux
spodaj desno: Princess of Mars

115

116

CANKARJEV

DREVORED

Beatriz Martins
Beatriz Silva

Matilde Flores
Maximilian Trautmann

117

PAVEMENTS

Given the monochrome, dull appearance of Cankarjev
drevored, the chosen artist has the potential to turn
its atmosphere into a more lively, exciting one. The
featured artist we chose, Pavle Banovic, explores
dynamic shapes which we intend to apply on not only
pavements, but all the refurbishment of this boulevard,
in order to create a complete work of art in Isola.

Inspired by our chosen artist, we changed our way of
looking at the potential of art applied to pavements.
Since his work was mainly monochrome, with a grey
palette, it immediately reminded us of the formulation
of the typical Portuguese pavements, calçada
portuguesa, made of black, white and grey limestone.

The first example that came to our mind were the
patterns created in iconic sidewalks like those of
Copacabana, with dynamic patterns composed only
of black and white stones.

We continued exploring how these stones create a
plethora of different drawings, eventually arriving to the
conclusion that, like our chosen artist’s work, they can
assume different shades of gray. Since the addition of
color has been a topic that has interested us since the
beginning of the development of this work, the next
step was searching for colorful pavements that can
still assume the morphology we intend to explore.

118

119

URBAN

EQUIPMENT

Having, as a starting point, Pavle’s art, we started
investigating how it could be articulated with some
street furniture elements. The tectonic character of his
monochrome drawings reminded us of the plasticity
of concrete, which, depending on its mold/formwork,
can assume different formulations. We found some
examples with dynamic shapes, which can articulate
with the remaining interventions (pavements, artwork
on façades, etc.).

The addition of color is, once again, a feature we intend
on taking further, allied to the idea of movement which
is very present in the artworks we present from our
chosen artist

Since our artist’s chosen expression form is drawing,
we started thinking how it could be applied to the
less appealing urban elements such as garbage bins,
finding examples of how artwork is placed on these
bins.

As for street chairs and tables, we followed the
same previous logic, exploring how concrete can be
manipulated in order to create interesting shapes that
can all bind together.

120

121

FACADE

INTERVENTIONS

Some of Cankarjev drevored’s buildings are in a quite
bad shape, appearing abandoned, and without any
signs of maintenance; some of them are not even
plastered, looking as if they are unfinished work. Unlike
the work of pavements, we do not intend to intervene
on all the façades of the street, but only on those which
present themselves as more problematic, in order not
to dilute the character of the street.

Our intention for these façades is to emphasize
the multicultural background of Isola, a melting pot
composed by Slovene, Croatian and Italian people,
among other minorities.

For this, we wish to use Pavle Banovic’s work: his
interest in the relationships between the individuals
and society, with an anthropological approach, applied
to his rich depictions of the human form, seem ideal to
recreate on the aforementioned façades.

His designs, portraying, many of the times, intricate
textures, would work especially well on a larger scale,
as the passerby can have a notion of the drawing’s ‘big
picture’. They would be two-dimensional, relying only
on Pavle’s skilled work of lines and surfaces to give the
impression of depth.

122

123

LIGHTING

ELEMENTS

AND UPPER ELEMENTS

We have decided to use the same approach that was
chosen for the façades: not to implement the upper
elements throughout the whole length of Cankarjev
drevored, but in key points we would like to explore
given their potential as public space, since we believe
the urban roofs have the power to attract people
and generate dynamics of permanence and social
meetings. The urban roof has a role of protection from
natural elements like the rain and the sun, and of limiting
space, generating more comfort and familiarity.

We have selected a few distinct examples, for different
reasons, that in some way could be articulated with
Pavle’s work, more specifically, with his work of the
abstract forms to create his patchy artworks.

In the first picture, we can see an example that
reminded us of the typical Slovene roofs used to
protect wood from the rain, and that we believe that
can be reinvented in such a way that it connects with
our artist’s work.

On the two bottom left pictures, we see examples of
geometrically shaped roofs that, to our understanding,
could also be reinterpreted, assuming freer forms: the
first in a more literal, patched logic, and the second in
a more constrained way, with the potential to create
some sort of new square for people to sit in and spend
some time.

124

125

63 | Idea for roof The next example shows us how the trees (vertical
elements) can be articulated with the roofs
64 | Idea for roof (horizontal elements), making the surroundings of
the natural elements more inviting places to stay
65 | Lamp designed with the help of the artist in.
Finally, this last example of an urban roof brings to
66 | Second lamp designed with the help of the light once again the theme of the upper element
artist as a potential creator of a plaza, as well as the
eventual connections of this kind of space with
126 the possible lighting fixtures in them.

Street lighting is, in our opinion, a factor which is
also pivotal to urban furniture. We found some
examples that fit in the narrative we imagine for this
street: dynamic, industrial-looking, monochrome.

127

ARTIST “The inspiration behind the compo-
sitions is diferent layers of concrete
PAVLE BANOVIĆ patches that are created by filling
the cracks in roads that happen over
128 time”

Pavle Banović was born in Belgrade, year 1998,
where he lives. He finished School of Design,
and is currently studying New media arts, at the
Faculty of fine arts in Belgrade.

Exhibitions/awards:

2018
- Telekom award for the best work on new me-
dia department, Flu, Belgrade

-Leaving the safe regime, group exhibition,
Goethe istitute, Belgrade

-Summer school as school, summer school of
contemporary art, Prishtina

-Stream street pop-up, colective AI, Belgrade

2019
- Given Mood, Gallery of SCC, Kragujevac

- Crowd in the city, group exhibition, Town Gal-
lery, Belgrade

In his work he is mostly interested in relations be-
tween an individual and society, and questioning
the ways in wich we exist and act , through his
own experiences.

129

130

CANKARJEV

DREVORED

Pavle Komatina
Strahinja Jovanović

Filip Komatina
Emilija Aleksijoska

Daniel Ilijeski

131

PAVEMENTS 67 | Pavment layout Aškrčeva street
68 | Pavment layout Aškrčeva street
location: Ljubljana, Slovenia
project date: 2012
completion date: 2015
area: 14.000 m2
type: public
client: Municipality of Ljubljana

The main street in the city of Ljubljana, Slovenia, was
transformed from a busy four-lane road dominated by
vehicular traffic into an urban shared space giving pri-
ority to pedestrians, cyclists and public transportation.

Despite the large volume of pedestrian and bus traffic,
the street is designed as a “shared space”, one where
users participate equally and height differences are
reduced to a minimum. The street is divided into three
sec tions, with a concrete road surface and a paved
pedestrian area.

The vertical element of the avenue is a tree line of
manna ash trees (fraxinus ornus); the horizontal a ge-
ometric pattern of the pavement, which creates the
impression of a fine carpet and increases the optical
dimension of the urban space.

The pavement is made of prefabricated elements,
wich give freedom of expression in form and color.

By asembling two simple forms, rhombus and square,
a third form is created and the result changes the per-
ception of the composition. The scale of elements is
small that results with better repetitive dinamic com-
position that is not confusing. The usage of colors
helps with the aesthetics of the composition as a
whole.

132

133

69 | Climate Tiles Location: Copenhagen, Denmark
Project date: 2014
70 | Climate Tiles - rainwater drainage Completion date: 2018
Type: public
134 Client: The City of Copenhagen

With the rapid urbanisation, rainwater has little
place to go in cities, and thanks to global warm-
ing, some places have too much of it at the time,
resulting into rivers where streets once were.

The Climate Tiles, which have been in develop-
ment since 2014, are dotted with holes. These
allow the water to be funneled into planted spac-
es alongside the pavement. The plants consume
a substantial portion of the water, while the rest
sinks into the soil.
The rest of the water from the sidewalks is led
through holes in the tiles to a storage unit by in-
tegrated pipes. The unit can manage the water in
connection to storage, delay, diversion and per-
colation. This way, the flow of water to sewers is
reduced dramatically, preventing floods.

The tiles are outfitted with vertical and horizon-
tal pipes that allow the tile to be used for various
functions. This way, it is possible to adjust the tile
to any given situation or activity on the sidewalk.

The tiles are made out of concrete and provides
opportunities to combine them with other mate-
rials such as stone.

135

71 | Split riva Location: Split, Croatia
Completion date: 2007
72 | Split riva pavement Area: 14.053 m2
Type: public
136 Client: The City of Split

The Split waterfront is an urbanized, open and
accessible public space – it is, so to speak, the
town’s living room. It stands in front of Diocletian’s
Palace, the home of the Roman emperor more
than 1700 years ago.

The modular Roman form of the palace in the
latter phase became the framework that shaped
the city and directed its expansion, in the same
way, the dimensions, materials and form of the
modular network of concrete elements laid on
Riva directed the arrangement and positions of
all the other elements of the public space.

The project development starting point was a
modular network of concrete floor elements 1.5
x 1.5m, the measure of a full stride of two steps in
Ancient Rome, so called paces. The color of the
concrete varies from white to pale gray and its
arrangement and concept is conditioned by the
notion that the elements seen from afar should
make a pixel image of a rippling sea.

The pavement simply add a new modern layer
atop the earlier structure, but to free the existing
surface of everything superfluous, establishing
an infrastructure that meets the needs of con-
temporary life.

137

URBAN 73 | Delta park, Rijeak
74 | Transformation of parking lot
EQUIPMENT
75 | Process of transformation
The Delta Park / 3LHD
Rijeka, 2018
The Delta Park project proposes an easy way to trans-
form the parking space on the northern part of Delta
into a new city centre park. The entire existing parking
lot would be graphically marked with a raster of planting
points for single trees and future open areas.
The planned gradual planting would include citizen
participation and would eventually fill the entire Delta
space with trees.
In the first phases, the parking lot would still function
and would only be temporarily abolished for occa-
sional events and social gatherings.
Over time, this space would be steadily transformed
into a central city park - a forest, the new green lungs
of the city. This new recreational zone would be an in-
teractive, social and public space for all citizens.

138

139

76 | Superkilen, Copenhagen 79 | Situation Superkilen / Topotek 1 + BIG Architects + Super-
flex
77 | Superkilen, Copenhagen Copenhagen, 2012

78 | Superkilen, Copenhagen Superkilen is a park that supports diversity. It is a
world exhibition of furniture and everyday objects
140 from all over the world, including benches, lamp-
posts, trash cans and plants – requisites that every
contemporary park should include and that the
future visitors of the park have helped to select.
Superkilen reattributes motifs from garden histo-
ry. In the garden, the translocation of an ideal, the
reproduction of another place, such as a far
off landscape, is a common theme through
time. As the Chinese reference the moun-
tain ranges with the miniature rocks, the Jap-
anese the ocean with their rippled gravel, or
how the Greek ruins are showcased as repli-
cas in the English gardens. Superkilen is a con-
temporary, urban version of a universal garden.
The conceptual starting point is a division of Su-
perkilen into three zones and colors – green, black
and red. The different surfaces and colors are in-
tegrated to form new, dynamic surroundings for
the everyday objects. The desire for more nature
is met through a significant increase of vegetation
and plants throughout the whole neighborhood
arranged as small islands of diverse tree sorts,
blossom periods, colors - and origin matching the
one of surrounding everyday objects.
As an extension of the sports and cultural activities
at the Norrebrohall, the Red Square is conceived
as an urban extension of the internal life of the
hall. A range of recreational offers and the large
central square allows the local residents to meet
each other through physical activity and games.
The colored surface is integrated both in terms
of colors and material with the Nørrebrohall
and its new main entrance, where the surface
merges inside and outside in the new foyer.
Facades are incorporated visually in the project
by following the color of the surface conceptually
folding upwards and hereby creating a three-di-
mensional experience. By the large facade to-
wards Norrebrogade is an elevated open space,
which almost like a tribune enables the visitors to
enjoy the afternoon sun with a view. In addition to
the cultural and sportsfacilities, the Red Square
creates the setting for an urban marketplace
which attracts visitors every weekend from Co-
penhagen and the suburbs.

141

80 | Tree shaft URBAN SOLID
Francesc Rifé / Josep Roig
81 | Recycle bin
Innovation and creativity is their central focus.
82 | One-seat bench They are a recently created, young and dynamic
company, with wide experience and a vocation to
83 | Multi-seat bench serve. They apply their knowledge and the best
and latest technology to improve existing urban
142 elements. Urbansolid is committed to high quality
and functionality in the products it commercialis-
es.

They are committed to using the best, cleanest
and most efficient technology, with the greatest
respect for the environment.

Imitation stone urban furniture for all urban spac-
es where it is needed, such as in historic centres
and in the renovation of historic areas.

We can provide your own exclusive, distinctive
brand of urban furniture for public and private
institutions, such as cities, golf clubs, stadiums,
shopping centres, airports, housing estates, sea-
front promenades, etc.

143

FACADE 84 | Mirror, Mirror
85 | Mirror, Mirror
INTERVENTIONS 86 | Mirror, Mirror

Artist: SOFTLab
Location: Alexandria Waterfront
Washington USA
Date: 2019

‘Mirror Mirror’, a public installation designed by SOFT-
lab, opened over the weekend alongside Alexandria,
Virginia’s revamped Waterfront Park. The 8-foot-tall,
interactive piece is the inaugural project for the city’s
public art series which is a key part of efforts to enrich
the experience of the waterfront along the Potomac
River.

For ‘Mirror Mirror’, the New York-based studio, whose
expertise ranges from digital fabrication to immersive
and interactive installations, decided to take a note from
the nearby Jones Point Lighthouse, which uses a spe-
cial type of device called the Fresnel lens to emit light.

Playing with reflection and refraction, the installation is
set up as a 25-foot-long open circle. On the outside,
monochromatic mirrors reflect its urban environment,
creating a panoramic vision of Old Town and the river.
Inside, the interior surfaces are tinted with a full color
spectrum, adding a vibrancy and activating the space.
LED fixtures have additionally been installed in each
of the vertical components. Triggered by sound, the
columns light up as visitors interact with the piece. De-
scribed by the designer as a “forest of light,” SOFTlab
and the city are hoping the public work will blend to-
gether “the waterfront, the fabric of Old Town, and the
activity of pedestrians in the new park.”

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87 | Light pavilion Artist: Ivan Toth Depeña
Location: Miami, Charlote, North Carolina USA
88 | Light pavilion Date: 2014

89 | Light pavilion Miami, Florida, and Charlotte, North Caroli-
na-based artist Ivan Toth Depeña has been fas-
146 cinated with the properties of light throughout
his academic studies of art and architecture, in-
cluding a Masters Degree in Architecture from
Harvard University’s Graduate School of Design.
“Light, both natural and artificial, has been pivot-
al in my development,” he says. “When I opened
myself up to experimentation and technology,
moving away from technique and representation,
things started to evolve exponentially for me.”

Part of his evolution as an artist who works with
light as a medium recently came to fruition in a
Denver suburb. “When I initially visited the site,
and Denver in general, I was very impressed by
the quality of light—the sun, the dusk and dawn
transitions. I wanted to figure out a way to take
advantage of the light and at the same time repli-
cate the experience at night,” he says. “Simultane-
ously, I was struck by the feeling that there was a
certain monochromatic visual quality to the built
environment. I wondered how to introduce color.”

The result is “Color Field,” a permanent, public art
installation at the Federal Center Station, a stop
on the new West Rail Line, part of the Region-
al Transportation District (RTD) commuter and
light-rail FasTracks Project, in Lakewood, Colora-
do. The sculpture’s 18 tree-like structures cast ev-
er-changing patterns of color across more than
100 feet of ramps, stairs, and walkways outside
the station, and has been described as an ab-
stract kaleidoscope

Depeña’s other recent public art projects include
“Reflect,” a permanent light-based installation
for the Stephen Clark Government Center lob-
by in downtown Miami, and commissions for
other light sculptures: “Arc,” a large-scale out-
door sculpture at the Northeast Regional Library
in Aventura, FL; “Inside/Out”, a building-sized
light installation at the University of New Mexi-
co Pit Athletic Facility; and “Cascade,” an artifi-
cial light waterfall in the Reitz Union Expansion
at the University of Florida Gainesville campus.

147

90 | Berlin wall Artist: All people in the world
Location: Berlin, Germany
91 | Berlin wall Date: from 1990 till now

92 | Berlin wall The East Side Gallery is an open-air gallery in Ber-
lin. It consists of a series of murals painted directly
148 on a 1,316 m (4,318 ft) long remnant of the Berlin
Wall, located near the centre of Berlin, on Mühlen-
straße in Friedrichshain-Kreuzberg. The gallery
has official status as a Denkmal, or heritage-pro-
tected landmark. According to the Künstleriniti-
ative East Side Gallery e.V., an association of the
artists involved in the project, “The East Side Gal-
lery is understood as a monument to the fall of the
Berlin Wall and the peaceful negotiation of borders
and conventions between societies and people”,
and has more than three million visitors per year.

The Gallery consists of 105 paintings by artists
from all over the world, painted in 1990 on the
east side of the Berlin Wall. The actual border at
this point had been the river Spree. The gallery
is located on the so-called “hinterland mauer”,
which closed the border to West Berlin.
It is possibly the largest and longest-lasting open
air gallery in the world. Paintings from Jürgen
Grosse alias INDIANO, Dimitri Vrubel, Siegfrid
Santoni, Bodo Sperling, Kasra Alavi, Kani Alavi,
Jim Avignon, Thierry Noir, Ingeborg Blumenthal,
Ignasi Blanch i Gisbert, Kim Prisu, Hervé Morlay
VR and others have followed.

The paintings at the East Side Gallery doc-
ument a time of change and express the
euphoria and great hopes for a better,
more free future for all people of the world.

Two-thirds of the paintings are badly damaged
by erosion, graffiti, and vandalism. One-third have
been restored by a non-profit organization which
started work in 2000. The objective of this organ-
ization is the eventual restoration and preserva-
tion of all the paintings.

149

LIGHTING 93 | Overpass, Boston
94 | Overpass, Boston
ELEMENTS

AND UPPER ELEMENTS

LOCATION: Lynn, MA
COMPLETED: 2018
SIZE: 2 acres
OWNERS: Beyond Walls
ARCHITECT: Payette

Lynn is one of Massachusetts’ 26 Gateway Cities, ur-
ban centers that anchor regional economies but face
stubborn social and economic challenges. In 2016,
MassDevelopment authored a Downtown Action
Plan for the city, which has led to the installation of 30
new street-art murals, eight restored neon signs and
new underpass lighting at three key public sites. The
underpass lighting project was the most ambitious of
the initiatives, requiring extensive coordination with
regulatory agencies and the expertise of dozens of
design professionals and tradesmen.

In 2016, Payette had participated in Design Museum
Boston’s “Urban Innovation Hackathon” to revitalize a
dilapidated area under the I-93 overpass, where four
diverse Boston neighborhoods intersect. With this ex-
perience, we joined forces with MassDevelopment,
Patronicity and Beyond Walls to tackle Lynn’s under-
pass lighting challenge. In late 2017, work got under-
way to brighten and activate the shadowy, crime-
and accident-ridden underpasses of Central Square,
Washington Street and Market Street with dynamic,
colorful and programmable LED lighting installations.
These once-avoided areas have become vibrant
landmarks in downtown Lynn, where people feel safe
and welcome any time of day or night.

150