Royal institute of technology School of architecture Master’s in architectural lighting design

Master Thesis

A Lighting Design for the Façade of Riddarholmen Church

AUTHOR: OMAR JABERI

Tracks: urban space, historical landmark and monument.

Index:

Abstract ...... 3 Introduction...... 4 Research question ...... 4 Keywords ...... 4 Limitations ...... 4 Methodology and structure ...... 5 PART ONE THE CURRENT SITUATION ...... 6 Background and regulation ...... 6 Historical background ...... 6 History of Stockholm ...... 6 History of Riddarholmen church ...... 7 Users activities ...... 9 Use of the place ...... 9 Light regulation ...... 9 Analysis and observation of context ...... 10 Weather ...... 10 Location ...... 10 Wind ...... 11 Urban fabric of the surrounding neighborhoods ...... 11 Urban fabric of Riddarholmen ...... 12 Parts of the church and architectural elements ...... 13 Visibility from short and long distance ...... 39 Light situation from surrounding neighborhoods ...... 40 Light situations around the church ...... 42 Movement ...... 45 Users behavior ...... 46 Public opinion ...... 47 Results ...... 48 PART TWO THE SOLUTION ...... 49 Users’ requirements and expectations...... 49 Vision ...... 49 Previous case studies and similar projects ...... 49 Mood board and inspiration ...... 51 Light experiments of a physical model ...... 53 Final concept ...... 55 Discussion ...... 59 Conclusion ...... 59 Image source ...... 61 References ...... 60

Abstract: The aim of this thesis is to study the current lighting conditions of Riddarholmen church at night time, by following a methodology that consists of three parts; background and regulation, analysis and observation of context as well as creating a public opinion. Comparing the church with others by introducing different case studies and similar projects to make an inspiration. Giving an answer to the research question about the possibilities of light to reveal the historical value of the church as the oldest in Stockholm, as well as improve the visibility of the church from a short and long distance. In addition, proposing a lighting concept that highlights the historical value of the church and makes a visual hierarchy of different light layers depending on the distance.

Introduction: The city of Stockholm is the capital of Sweden and considered one of the most beautiful cities in the world. It is located in the eastern archipelago of Sweden. The city was built on several islands in the water channels between the Baltic Sea and the lake of Mälaren. The name Stockholm is formulated from two parts. The first part of the name (Stock) means log in Swedish, although it may also be connected to an old German word (Stock) meaning fortification. The second part of the name (holm) islet. [1]

Over the years, several different names and concepts have been used about Stockholm to attract foreign tourists such as “! The Venice of the North and "The Queen of Mälaren". The latest name "Stockholm, the capital of Scandinavia" [2]

Stockholm is a multicultural city, filled with historical places and landmarks from different periods. In Stockholm you can see many medieval churches such as "Riddarholmen church", old renaissance and baroque palaces like "the royal palace of Stockholm" and museums such as "Vasa museum". These places tell visitors and tourists about the history of the city, especially Riddarholmen church which is one of the oldest buildings in Stockholm. These historical places should be easily seen from all around the city, therefore it is the lighting designers' responsibility to increase the visibility and show them in a fascinating way.

Fig 1: a view over the city of Stockholm

Research question: The importance of Riddarholmen makes us ask this question as lighting designers:

Can light show the historical value of Riddarholmen church and how can light effect the church visibility from a short and long distance?

Keywords: Historical landmark - monument - identity - culture - attraction - visibility- harmony with urban context.

Limitations: The study is only considering: - Night time and evening - Artificial light - Facades of the church

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Methodology and structure: The methodology consist of two main parts: 1- Study of a current situation. 2- Propose a concept for a new permanent lighting system and a temporary dynamic lighting system related to different historical events and important holidays.

1- Part one: a- Background and regulation: - Historical background of Stockholm and Riddarholmen church. - User activities. - Use of the place. - Lighting regulations. b- Analysis and observation of context: - Weather. - Location. - Wind. - Urban fabric of the surrounding neighborhoods. - Urban fabric of Riddarholmen around the church. - Parts of the church and architectural elements. - Visibility from a short and long distance. - Light situation from the surrounding neighborhoods following the 7 factors. - Light situation around the church following the 7 factors. - Movement. - User behavior. c- Public opinion by survey and interviews. To know how people perceive the light by the church, get more understanding about the sense of comfort and safety in the place. As well as the attractiveness of the place and visibility of the church.

2- Part two: a- Introduce previous case studies and similar projects. b- Present user requirements and expectations. c- Vision. d- Mood board. e- Build a physical model to make light experiments, as well as a personal and public’s evaluation of the attractiveness, light distribution, visibility….etc. f- Final concept.

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PART ONE THE CURRENT SITUATION. Background and regulation: 1- Historical background: - History of Stockholm: The Old Town of Stockholm was first built around 1000 AD by Vikings. The earliest written mention of the name Stockholm dates back to 1252 AD. According to Eric Chronicles, the city was founded by Birger Jarl to protect Sweden from sea invasions, after the pillage of Sigtuna in the summer of 1187 AD. [3]

Fig 2: The earliest evidence for the name Stockholm is to be found in a letter of patronage for Fogdö Abbey, dated Stockholm July, 1252.

The Danish King Christian II was able to enter the city in 1520 AD and made a massacre of the opposition figures called the Stockholm Bloodbath.

Fig 3: Two scenes from the blood-bath panel

With the coronation of Gustav Vasa in 1523 AD and the establishment of royal power, the population of Stockholm began to grow, reaching 10,000 by 1600 AD.

Fig 4: Vädersolstavlan from 1535, one of the oldest known images of Stockholm

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In the 17th century, Sweden became a major European power, reflected by the development of the city of Stockholm. In 1634 AD, Stockholm became the official capital of the Swedish empire. Trading rules were also created, which gave Stockholm an essential monopoly on trade between foreign merchants and other Swedish and Scandinavian territories. In 1697 AD, Tre Kronor (castle) burned and was replaced by Stockholm Palace.

Fig 5: The fire of Tre kronor

In 1710 AD, a plague killed about 20,000 (36 percent) of the population. [4] Stagnated by the end of the Great Northern War. Population and economic growth decreased. The city was in shock after having lost its place as the capital of a great power. However, Stockholm maintained its role as the political center of Sweden and continued to develop culturally under Gustav III.

- History of Riddarholmen church: The Riddarholmen church was originally built as a monastery for the Gray Brotherhood in Stockholm. The monastery was founded in 1270 while the church itself was built around 1280–1300 with long structures, choirs and porches in the north. The original plan was two- nave, a common plan for the mendicant orders monastery churches in Scandinavia and northern Germany during the Middle Ages. The monastery church lacked towers, because the Franciscan rules did not allow them. [5]

Fig 6: Preserved rooms from the Gray Brotherhood monastery

In 1400's, the monastery's southern crossing was made into a nave by raising the southern long section wall. Before that, it had a chapel, the present sacristy, which had been erected south of the eastern bay. In the 15th century, a vestibule also emerged in the west, which later Johan III allowed to elevate into a tower with a high spire.

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Fig 7: Riddarholmen with the Riddarholmen Church and the Gray Brotherhood Monastery, after a woodcut from 1524, called the Blood Bath Table

The first chapel to be extended was the Gustavian tomb located on the southern side of the choir and was erected in 1632–1634 for Gustav II Adolf. The choir was designed by Kristian Blume in Dutch Renaissance style. Construction of the Karolinska tomb began in 1675 AD after Nicodemus Tessin's drawings.

From 1811 to 1817 AD, the church’s restoration was done under the leadership of Fredrik Blom. After that, the State Trophy Collection was moved to the Riddarholmen Church in a solemn ceremony in 1817 AD. [6]

On 28th of July 1835 AD, lightning struck the tower of the church; fire broke out and lasted for three days with no way to extinguish it, resulting in the collapse of the tower spire and burn of the stone tower. The towers stood long against destruction, finally they fell and with them the bells fell from their stands. However, the fire was prevented from entering the interior of the church. [7]

Fig 8: The fire of Riddarholmen church 1835 AD

During the rebuilding of the church, in the years 1838–1841 AD, on the initiative of Samuel Owen, the characteristic iron spires were casted at Åkers styckebruk. The neo-Gothic form was drawn in a first variant of the sculptor Erik Gustaf Göthe but was reworked by Carl Gustaf Blom Carlsson. [8]

The church was restored in 1841–1846 AD under the direction of the city architect in Stockholm, Per Axel Nyström the Elder (1793–1868). After the restoration, the trophy collection, the Swedish state's collection of military trophies, was set up again in the same way as before the fire in 1835 AD. Between 1856 and 1860, the last extension of the church was added: the Bernadotte choir, designed by Fredrik Wilhelm Scholander. The church was restored again in 1914–1922 AD under the leadership of the court curator Gustaf Lindgren. [9]

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2- User activities: a- Tourism: For so long has Stockholm been a tourist destination, lots of tourists visit every year. They are usually interested in historical places like Riddarholmen church. b- Work: Riddarholmen is a place for different authorities and courts, therefore it is normal that many people to have their jobs and workplaces next to the church. c- Walk: People who live in the surrounding neighborhoods take a walk in the old town and Riddarholmen. d- Eat and drink: Riddarholmen contains one restaurant, many boats are also anchored in the vicinity are used as restaurants. In addition to several restaurants in the surrounding area that have their view towards Riddarholmen.

3- Use of the place: - Royal burial: Swedish monarchs from Gustav Adolph (d. 1632 AD) to Gustaf V (d. 1950) are entombed here (with only one exception: Queen Christina who is buried within St. Peter's Basilica in Rome), as well as the earlier monarchs Magnus III (d. 1290) and Charles VIII (d. 1470). [10]

Fig 9: Gustav II Adolph of Sweden grave

- Museum: The church is open for private and guided tours during spring, summer and autumn, as well as for special arrangements and seraphim rings. - Concerts: There are some concerts and ceremonies that take place in the church.

4- Light regulation: It is important to achieve the balance and uniformity in lighting. Most of light sources have a uniform, warm white light color, 2700 Kelvin. The color rendering is good, with a minimum level of Ra / CRI 80. The warm-toned light creates the mood of incandescent light and the same light color is used in all exterior luminaires on Riddarholmen. [11]

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Analysis and observation of context:

1- Weather: Stockholm is located 60o north of the Equator. The average temperature is -1.7o in January and 17.7o in July. [12] This makes Stockholm a cold city during winter and moderate in summer as shown in Fig 10.

Fig 10: The average temperature of Stockholm.

2- Location: Riddarholmen is a small islet in the heart of Stockholm, west to Gamla Stan (The old town), located in the water channels that connect The Baltic Sea and lake Mälaren, as shown in Fig 11.

Fig 11: The location of Riddarholmen

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3- Wind: In Riddarholmen there is a current of wind that passes by the church as shown in Fig 12. This current is strong enough to prevent people from standing by the church. However this thesis is not considering any solution for wind protection.

Fig 12: The current of wind on Riddarholmen

4- Urban fabric of the surrounding neighborhoods: Riddarholmen is surrounded by different nodes and landmarks as shown in Fig 13.

Fig 13: The surrounding of Riddarholmen

- Nodes: 1- Stockholm central station, 2- Gustav Adolstorg (square), 3- Slottsbacken (castle hill), 4- Stortorget (square), 5- Gamla Stan subway station, 6- Slussen Subway station. - Landmarks: 1- Stockholm city hall, 2- st clara church, 3- The royal opera, 4- The parliament, 5- The royal palace, 6- Storkyrkan (church or Stockholm cathedral), 7- nobel museum, 8- The German church, 9- Bondeska palace, 10- House of nobility - Districts: 1- Kungsholmen, 2- Norrmalm, 3- Gamla Stan, 4- Södermalm

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- Edges: There is a main edge around Riddarholmen, this edge makes a division between the islet borders and water - Subway railway - Railway - Car roads - Pedestrian roads

5- Urban fabric of Riddarholmen: Riddarholmen has a very special urban fabric, which is different from the planning of the old town. It is noticeable that there are big spaces between the buildings unlike the old town where the narrow streets and small spaces between the buildings are dominant. The reason for this is that Riddarholmen originally was used as a monastery. Later some of the noble families in Stockholm built their Residences and palaces on Riddarholmen, as well as several courts and authorities have their seats on Riddarholmen.

Fig 14: The urban fabric of Riddarholmen

- Nodes: 1- Birger Jarl's Square (Square), 2- Evert Taubes Terrace - Landmarks: 1- Hebbeska House, 2- The old parliament, .3 Western Gymnasium House, 4- Sparreska palace, 5- Chamber of Laws House, 6-Wrangels palace, 7 Stenbockska palace, 8- Old National Archives, 9- Hessensteinska palace - Riddarholmen church - Parking - Pedestrian and car roads - Railway - Pedestrian areas - Car roads

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6- Parts of the church and architectural elements: Riddarholmen church consists of different parts as shown in Fig 15. The church is divided essentially into the main hall of the church and the tombs. There are two types of tombs; the royal tombs which were used for the royal family members and ordinary tombs which were used for some nobles or people with high positions.

1- The church 2- The chancel 3- Gustavianska chapel (royal) 4- Karolinska chapel (royal) 5- Bernadotteska chapel (royal) 6- Sacristy 7- Wasaborgska chapel (not royal) 8- Banérska chapel. (not royal) 9- South west corner room 10- The tower 11- Torstensonska chapel (not royal) 12- Wachtmeisterska chapel (not royal) 13- Porch 14- A: western Lewenhauptska chapel (not royal) 15- B: eastern Lewenhauptska chapel (not royal)

Fig 15: The plan of the church

Analysis of the church parts will consider the following aspects: - History. - Location. - Architectural elements, materials and colours. - Degree of details on a scale from 1 to 5. As an example for number 1 in the scale (South west corner room) and for number 5 in the scale (Karolinska chapel).

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Scale number 1

Fig 16: South west corner which is very simple and lacks any details or ornaments.

Scale number 5

Fig 17: Karolinska chapel which contains lots of elements and ornamnents.

1- The church: - History: The church was built around 1280–1300 with a long structure. The original plan was two-nave, a common plan for the mendicant orders monastery churches in Scandinavia and northern Germany during the Middle Ages. [13] - Location: The church and the chancel are considered the main part of the church. The church itself is located in the western middle part of the building

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Fig 18: The location of the church with point of view for the picture and highlighted studied façade ~ 14 ~

- Degree of details: 1

Fig 19, 20, 21: Parts of the walls of the church hall.

- Architectural elements: The church lacks vertical elements. - Roof: Wooden with dark grey greenish paint. It is made of gable and divided into two parts, which is traditional for medieval churches. - Walls: Red bricks which are simple and lack details and ornaments. - Foundations: Granit pink greyish stones, located beneath the brick walls. - Windows: Transparent reflective glass, which were built in different styles and sizes. - Semi- /false windows: Grey stones, it is not clear what the purpose of it was or if it was even used as a window. - Window frames: White stones which lack details and ornaments.

Fig 22: Façade to the south

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2- The chancel: History: The chancel and the church have the same history Location: The chancel itself is located in the eastern middle part of the building. The chancel is the part of the building where the altar is and the priest stands. The chancel has the same roof as the church and is connected in the plan as well.

Fig 23: The location of the church with point of view for the taken picture and highlighted studied facades

- Degree of details: 2

Fig 24, 25, 26: The studied façades of the chancel

Architectural elements: - Roof: Wooden with dark grey greenish paint. It is made of gable, which is traditional for medieval churches. It extends form the church roof. - Walls: Red bricks which contain vertical structural elements and lack details and ornaments except a frame of white stones. - Vertical elements: Red bricks and white stones on the corners, which exist along the walls. They are typical for midlevel churches

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- Foundations: Granit pink greyish stones, located beneath the brick walls and the vertical elements. - Windows: Transparent reflective glass, which is uniform and were built in gothic style. - Window frames: White stones which lack details and ornaments. - Spire: Grey greenish metal, it contains lots of details in comparison to the chancel. The spire consist of base, arches, dome and smaller spire

Fig 27, 28: Facades to north and east

3- Gustavianska chapel: History: Erected for Gustav II Adolf (1594–1632). In the Gustavian tomb, besides Gustav II, Adolf, mainly in the underground crypt, rests another 20 royalty, among them the kings Adolf Fredrik, Gustav III, Gustav IV Adolf and Karl XIII. [14] Location: Located south of the chancel.

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Fig 29: Location of Gustavianska chapel with points of view for the pictures and highlighted studied facades. - Degree of details: 4

Fig 30, 31 32: Studied facades of Gustavianska chapel

Architectural elements: - Roof: Wooden with dark grey greenish paint. It is made of dome with gable that connects the roof with the church. - Walls: Red bricks which contain vertical structural elements, which unlike the chancel and the church have many details and ornaments in addition to frames of white stones. - Vertical elements: Red bricks and frames of white stones. They exist along the walls in a shape of polygon. - Foundations: White stones, located beneath the brick walls and vertical elements. - Windows: Transparent reflective glass divided by stone frames into small windows. They are uniform and were built in renaissance style. - Window frames: White stones with some details and ornaments.

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- Spire: Grey greenish metal and contains a lot of details. The spire consists of a polygon body, small dome and a smaller spire. - Ornaments and details: White stone, divided into two shapes; vertical, simple and consists of small rectangles and horizontal complicated ones.

Fig 33: Facades to south and east

4- Karolinska chapel: History: Designed by Nicodemus Tessin the Elder and began in 1671 and completed by Carl Hårleman in 1743. Built typically in a Baroque style. In the upper vault, Karl XII rests. On the eastern and western walls of the grave, Queen Ulrika Eleonora rests on along with her husband King Frederick I. In the lower vault several kings rest with their respective talents. Straight ahead is Karl X Gustav with his wife Queen Hedvig Eleonora. To the left are Karl XI and Queen Ulrika Eleonora the elder. [15] Location: Located north of the chancel, opposite the Gustavianska chapel

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Fig 34: The location of Karolinska chapel with points of view for the picture taken and highlighted studied facades.

- Degree of details: 5

Fig 35, 36, 37: The studied facades of Karolinska chapel.

Architectural elements: - Roof: Wooden with dark grey greenish paint in the shape of a rectangular dome with golden ornaments. - Walls: White yellow and grey stones which contain vertical structural elements and lots of ornaments and details. - Vertical elements: White yellow and grey stones. They exist on both sides of the big windows, cylindrical with some details which was usual in Baroque architecture. - Foundations: Granit pink grey stones, located beneath the walls. - Windows: Transparent reflective glass, divided into three shapes. The big ones which have arches, circular ones and small ones in the shape of rectangle.

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- Window frames: White stones with lots of details and ornaments. - Spire: Grey green metal or stone, contains lots of details and ornaments creating a sculpture. - Ornaments and details: White stone with some golden colour in some parts, there are two shapes; a statue and usual ornaments. In general the ornaments are very complicated and detailed.

Fig 38, 39: Facades to north and east

5- Bernadotteska chapel: History: Designed by Fredrik Wilhelm Scholander and built in 1858–1860. In the fund, Karl XIV Johan, in front of Karl Johans grave, Queen Desideria's sarcophagus stands. The closest to Karl Johans sarcophagus on the left is Oscar I with Queen Josefina, on the right side Karl XV and Queen Lovisa. Further away from Karl Johans sarcophagus and closer to the actual church rests on the left side Oscar II and Queen Sofia and on the right side Gustaf V and Queen Victoria. [16] Location: Located to the west of the Gustavianska chapel and south of the chancel.

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Fig 40: The location of Bernadotteska chapel with points of view for the picture taken and highlighted studied facades.

- Degree of details: 4

Fig 41, 42, 43: The studied facades Bernadottska chapel.

- Architectural elements: - Roof: Wooden with dark grey greenish paint in the shape of a dome. - Walls: Red bricks with frames of white stone including ornaments and details. There are some vertical elements. - Vertical elements: Red bricks with frames of white stone and some ornaments. - Foundations: Granit pink grey stone, located beneath the walls and vertical elements. - Windows: Transparent reflective glass and uniform. - Window frames: White stones with some details and ornaments. - Spire: Grey green metal or stone, contains some details and ornaments. - Ornaments and details: White stone, both simple in some parts and complicated in other parts.

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Fig 44: Façade to south

6- Sacristy: - History: Originally a chapel built with the church. - Location: Located west of the Bernadotteska chapel and south of the church.

Fig 45: Location of the sacristy with points of view for the picture taken and highlighted studied facades.

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- Degree of details: 1

Fig 46: The studied façade of sacristy

- Architectural elements: - Roof: Wooden with dark grey green paint. Connected to the church. - Walls: Red bricks which are simple and lack details and ornaments, except a circular shape. - Foundations: Granit pink greyish stones, located beneath the brick walls. - Windows: Transparent reflective glass, only two windows. - Ornaments and details: Grey stone, in the shape of circles. - Window frames: White stone which lack details and ornaments. -

Fig 47: Façade to the south.

7- Wasaborgska chapel: - History: Erected in 1647 by Gustav II Adolf's extramarital son Gustaf Gustafsson of Vasaborg. In the tomb, lies Lieutenant-General Wolmar Wrangel, the National Council, the Field Marshal Carl Gustaf Dücker and the general Gustaf Fredrik von Rosen. [17] - Location: Located west of the sacristy and south of the church

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Fig 48: Location of Wasaborgska chapel with points of view for the picture taken and highlighted studied facades.

- Degree of details: 2

Fig 49, 50, 51: The studied facades of Wasaborgska chapel.

- Architectural elements: - Roof: Wooden with dark grey green paint in the shape of a dome and contains round windows. - Walls: Red bricks in the upper part and granite pink greyish stones. There are some details on the corners. The walls lack vertical elements. - Foundations: Granite pink grey stones beneath the walls. - Windows: Transparent reflective glass, round and only on the roof. - Ornaments and details: Grey stones, simple and only in the corners and some on the roof and spire. - Window frames: White stones with some details and ornaments. - Spire: Grey green metal or stone, contains some details and ornaments.

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Fig 52: Façade to the south.

8- Banérska chapel: - History: The second oldest burial ground, after the Gustavianska. Built in 1636 by Johan Banér, who rests in the middle of a burial ground in a sarcophagus. In the grave, hangs Banér's portrait. In his tomb, his first wife, Catharina Elisabet von Pfuel, the son Gustaf Adam Banér, Per Larsson Sparre and several people. [18] - Location: Located west to Wasaborgska chapel and south of the church.

Fig 53: Location of Benèrska chapel with points of view for the picture taken and highlighted studied facades.

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- Degree of details: 2

Fig 54, 55, 56: The studied facades of Benèrska chapel.

- Architectural elements: - Roof: Wooden with dark grey green paint in the shape of a cone. - Walls: Red bricks with vertical elements. The walls lack ornaments except some frames of white stone. - Foundations: Granite pink grey stones, beneath the walls and vertical elements. - Windows: Transparent reflective glass, uniform and lack an obvious shape of frame.

Fig 57, 58: Façades to south and west

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9- South west corner room: - History: Probably built with the church. - Location: Located south west of the church.

Fig 59: Location of the south west corner room with points of view for the picture taken and highlighted studied facades.

- Degree of details: 1

Fig 60, 61: The studied facades of south west corner room.

Architectural elements: - Roof: Wooden with dark grey green paint in shape of gable and is connected to the roof of the church. - Walls: Red bricks, lack any ornaments, details or vertical elements. - Foundations: Granite pink grey stones, beneath the walls. - Windows: Transparent reflective glass. Only two simple rectangular windows

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Fig 62, 63: Facades to the south and west.

10- The tower: - History: In the 15th century, a vestibule was emerged in the west, which later Johan III allowed to elevate into a tower with a high spire. - Location: Located west of the church.

Fig 64: Location of the tower with points of view for the picture taken and highlighted studied facades.

- Degree of details: 4

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Fig 65, 66, 67: The studied facades of the tower.

- Architectural elements: - Walls: Red bricks which contain vertical structural elements on the corners, some details and semi-windows. The tower was built in a typical shape of the medieval church tower, it contains a clock. The walls are divided into three levels. - Vertical elements: Red bricks divided into three levels by grey green semi roof. They end with small spires. - Foundations: Granite pink grey stones, beneath the walls and vertical elements. - Windows: Transparent divided reflective glass. In three levels, on the first level there is a round window above the door, on the second level a small window in gothic style and on the third level a big gothic window. The windows are uniform in every level. - Door: Black wooden door with glass parts, in gothic style and contains lots of details and ornaments. - Frames: White stones with simple details. - Spires: Black metal, there are small four spires and one big spire. The big spire contains lots of details which makes it a special sculpture in Stockholm. It is divided into four parts, the first three parts contain some arches and the highest part is quite similar to the small spires. - Semi-windows and details: White stone, they are quite simple. The semi-windows are simple, uniform and in gothic style. The details are some crosses and small white stones beneath the second level of the walls. - Clock: Black metal with some golden colour. Round and only exists in the tower.

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Fig 68, 69: Facades to the west and north.

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11- Torstensonska chapel: - History: Erected in 1651 for the Lennart Torstenson, - Location: Located north west of the church.

Fig 70: Location of Torstensonska chapel with points of view for the picture taken and highlighted studied facades.

- Degree of details: 3

Fig 71, 72: The studied facades.

- Architectural elements: - Roof: Wooden with dark grey green paint. Made of a dome with gable that connects the roof with the church. In addition to some small sculptures. - Walls: Red bricks which lack vertical structural elements but contain some details and ornaments, in addition to frames of white stone. - Foundations: White stone, beneath the brick walls.

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- Windows: Transparent reflective glass divided by stone frames into small windows. They are uniform and built in renaissance style. - Window frames: White stone with some details and ornaments. - Spire: Grey green metal and contains lots of details. The spire consist of a polygon body, small dome and a smaller spire. - Ornaments and details: White stone, divided into two shapes; vertical simple consists of small rectangles and horizontal complicated ones.

Fig 73, 74: Façades to the west and north.

12- Wachtmeisterska chapel: - History: Erected in 1654 for Count Hans Wachtmeister of Björkö. In the choir's tomb lies Count Wachtmeister with his wife as well as other members of the Wachtmeister family, also other families related to Wachtmeister. [19] - Location: Located to in the northern side of the church, east of the Torstensson, next to the medieval porch on the north side of the church.

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Fig 75: Location of Wachtmeisterska chapel with points of view for the picture taken and highlighted studied facades.

- Degree of details: 3

Fig 76, 77: The studied facades.

- Architectural elements: - Roof: Wooden with dark grey green paint, made of dome. - Walls: Red bricks which lack vertical structural elements but contain some details in addition to a frame of white stone. - Foundations: Granite pink grey stone, beneath the brick walls. - Windows: Transparent reflective uniform glass. - Window frames: White stone with a few ornaments. - Spire: Grey green metal consists of a polygon body with small arches, asmall dome and a smaller spire. - Ornaments and details: White stone.

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Fig 78: Facades to west and north

13- Porch: - History: Built with the church. - Location: Located north of the church.

Fig 79: Location of the porch with a point of view for the picture taken and highlighted studied facades.

- Degree of details: 1

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Fig 80: The studied façade.

- Architectural elements: - Roof: Wooden with dark grey green paint. Made of gable but hidden by the facade. - Walls: Red bricks which lack any vertical structural elements or windows but contain a cross and a door. - Foundations: Grey stone, beneath the brick walls. - Door frame: Red brick and grey stone at the bottom. - Details: White stone cross. - Door: Dark brown wood with some gothic details.

Fig 81: Façade to the north.

14- Lewenhauptska chapel: - History: Two tombs were erected in 1654 by Gustaf Adolf Lewenhaupt and Carl Mauritz Lewenhaupt. In the western choir, Carl Mauritz Lewenhaupt and his wife Dorothea Wrangel rest. In the eastern chapel Gustaf Adolf Lewenhaupt rests, as well as a son who died young. In the vault other members of the Lewenhauptska family, for example the general Adam Ludwig Lewenhaupt. [20]

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- Location: Located on the north side of the church, east of the northern porch.

Fig 82: Location of Lewenhauptska chapel with points of view for the picture taken and highlighted studied facades. - Degree of details: 3 -

Fig 83, 84, 85: The studied facades.

- Architectural elements: - Roof: Wooden with dark grey green paint. Made of dome. - Walls: Red bricks and white stone at the bottom which lack vertical structural elements but contain some details and ornaments, in addition to a frame of white stone. - Foundations: Pink grey granite, beneath the brick walls. - Windows: Transparent reflective glass. They are uniform. - Window frames: White stones with few details. - Spire: Grey green metal, consists of a polygon body and a small spire.

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- Ornaments and details: White stone, they are two horizontal. - Semi-window: White stone, built in the same style of the windows.

Fig 86: Façade to the north.

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Visibility from a short and long distance: Despite of the importance of Riddarholmen church, the lighting conditions make the church very invisible in comparison to other churches in Stockholm like Storkyrkan. It is released that Riddarholmen is barely visible from a distance as shown in Fig 88, in comparison to Storkyrka which is shining from a very big distance, as shown in Fig 89.

Fig 87: Points of view from close and long distance

Fig 88, 89: A view from Vasabron towards south. Riddarholmen church is barely visible at night time, while Storkyrkan is shining at night

The church is lit by reflected light from the surrounding buildings as shown in Fig 90, which makes the church very unwelcoming and an unattractive place to visit at night. There are lots of details and ornaments in the church that are not visible at night and hidden beneath a wave of darkness as shown in Fig 91.

Fig 90: The tower of the church from the south. Fig 91: A window in the church with its details and ornaments. All these details are hidden at night.

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7- Light situation from surrounding neighborhoods: The observation takes place in three different points in the surrounding neighborhoods as shown in Fig 92. The observation was done on the 24th of April 2019 between 21:55 and 22:45 o’clock.

Fig 92: Observation point in the surrounding neighborhoods.

Fig 93: Point number 1 View from Katarina hissen at Slussen. The church is dark, the glare is disturbing with a strong reflection. The light color temperature is cold in general. In this view Riddarholmen church is a missing part from the nocturnal silhouettes.

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Fig 94: Point number 2 view from Gamla Stan next to Riddarhuset. The church is very dark and barely seen, the glare is disturbing from the street lights and the high way. The light color temperature is cold from the high way and warm from street lights. The nocturnal silhouettes lack in the church.

Fig 95: Point number 3 view from Tegelbacken towards the south. The church is dark and barely seen, a disturbing glare from the blue sign. The light colour temperature is warm from the street lights and cold from the sign. The church is missing in the nocturnal silhouettes.

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8- Light situations around the church: The observation takes place in five different points around the church as shown in Fig b. The observation will consider the following method of 7 factors Ejhaed and Liljefors. In addition to lux measurement on 120 cm height. The measurements and observation were done on the 24th of April 2019 between 21:05 and 21:45 o’clock.

Factor Scaling 1- Level of light Dark 1 2 3 4 5 Bright 2- Light distibution Uniform 1 2 3 4 5 Varied 3- Glare Invisible 1 2 3 4 5 Disturbing 4- Shadows Soft 1 2 3 4 5 Hard 5- Reflections Difuse 1 2 3 4 5 Strong 6- Light color Cold 1 2 3 4 5 warm 7- Color Unnatural 1 2 3 4 5 Natural

Fig 96: Points around the church for light observation and measurements.

Results of the observation 5

4

3

2

1

0 Level of light Light Glare Shadows Reflections Light clour Colour disturbution

Point 1 Point 2 Point 3 Point 4 Point 5

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Fig 97: Point 1 the lux measurement is 0.7, It is quite dark with uniform light distribution. There is some glare from the surrounding street lights and some hard shadows from the street lights. There is a quite strong reflection because of the white stone of Karolinska chapel. The light color temperature is quite cold.

Fig 98: Point 2 the lux measurement is 5.4, quite bright point because of the light coming from the surrounding buildings, there is some annoying glare from the street lights around the church and some hard shadows. The color light temperature is warm and colors are natural.

Fig 99: Point 3 the lux measurement is 4.8. It is a quite bright point like point number 2 with uniformity in light distribution. There is no visible glare, the shadows are very soft and there is no strong reflection. The light color temperature is warm and the colors are natural.

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Fig 100: Point 4 the lux measurement is 6.3. This point receives the biggest amount of light. However, it is not the brightest point. Light distribution is quite uniform. There is some glare but not annoying with soft shadows. The reflection is much diffused. The light color temperature is quite cold and colors are natural.

Fig 101: Point 5 the lux measurement is 2.9. It is a quite dark point with a varied light distribution. There is some glare from the street lights and hard shadows. The light color temperature is quite cold.

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9- Movement: There are three sorts of movements around the church at night time; pedestrian, bicycles and vehicles. The observation was done on the 26th of April 2019 between 21:35 and 22:05 o’clock. The movement shown in Fig 102, Fig 103 and Fig 104.

Fig 102: Movement of the pedestrian, about 61 went through at the observation time. This fig shows the main approach that people use when they pass by the church with the main direction.

Fig 103: Movement of the cars, about 11 cars. There is a main approach that car drivers usually use which connects Gamla Stan with Riddarholmen then continues to the other side of Riddarholmen.

Fig 104: The movement of the bicycles,with only 3. In general people used only one approach at the observation time with one direction.

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10- Users behavior: The observation have been done on the 26th of April 2019 between 21:35 and 22:05 o’clock. This observation shows how people behave around the church. 1- Cars: usually pass through or pick someone up like taxi drivers. 2- Bicycles pass through. 3- Pedestrian: Pass through and sometimes stand by the church to take some photos or get some information from the information signs about the church as shown in fig 105.

Fig 105: some points where people stand by the church.

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Public opinion: By doing a survey and interviewing 20 people from both genders who have different ages and backgrounds. People will answer two groups of question. Group one, people will choose an answer from 1 to 10

1- How attractive do you experience this place? Unattractive 1 2 3 4 5 6 7 8 9 10 Attractive

2- How comfortable do you feel in this place? Uncomforta 12345678910Comfortable

3- How clear are the details of the church for you? Unclear 12345678910Clear

4- How do you evaluate the lighting of the church in general? Dark 12345678910Bright

5- How safe do you feel in this place? Unsafe 12345678910Safe

6- How much do you think a more lighting will attract people to visit the church? Not at all 12345678910Very much

Group two, open question, people will write their opinion 1- Can you describe your feelings and experience in the place? 2- What changes would you like to see to make this place more attractive?

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Results: The results will consider three aspects of the methodology: Background: Riddarholmen church has a very historical importance as the oldest saved medieval church in Stockholm which witnessed all the historical events in Stockholm and has the bodies of the kings and queens as a royal burial. Actually the whole Riddarholmen with its building creates a historical environment that attracts people to do different activities. However, there are some regulations and norms that control the lighting design process.

Analysis and observation: Riddarholmen is located center of Stockholm which is a strategic place in the city. However the location next to the open water creates a strong current of wind which could be a problem for people to be next to the church. The location of Riddarholmen church shows that the church is surrounded by many historical buildings and landmarks.

The church consists of many parts which were built in different historical periods with different architectural styles like gothic, renaissance and baroque. In general there are two main characters, the red bricks walls with granite pink greyish foundation and the dark grey green roofs and spires, except the Karolinska chapel which has white stone walls.

After analyzing the visibility and light situation around the church from the surround neighborhoods, the church is very dark and barely seen at night. As well as, the glare from the surrounding neighborhoods effects the church in a very negative way. In general the church does not exist in the nocturnal silhouettes.

The movement around the church is more focused northern of the church where people usually come to the church from the bridge (Riddarholmenbron) that connects Riddarholmen with Gamla Stan and continute to Birger Jarls torget.

Survey: 1- Attractiveness: 65% think the church is an attractive place. 2- Comfort: 70% feel comfortable. 3- Clearness / visibility from a short distance: 70% think the church is barely visible. 4- Light levels: 90% think it is dark. 5- Safety: 60% feel safe in the place. 6- Require more lighting to attract more people: 95% think that more light will attract people to visit the church.

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PART TWO THE SOLUTION.

User requirements and expectations: According to the interviews that were done along with the survey there are some requirements and expectations that people expressed by answering the open question:

Safety - Security - Beauty - Curiosity - Sense of art - Not so dark and not so bright - Colorful lights - Coziness - Welcoming atmosphere that makes you want to come back - Luminaires that lit the church - Unique - Attractive - Special and beautiful experience - Elegance - Light show - Amusement - Church should be visible from distance - Identity - Visibility - Illuminated information signs nearby so you can read about the church's history even at night - Show the historical value

Vision: Make Riddarholmen church more attractive for people to visit and socialize at night and increase the short and long distance visibility of the church at night by following a visual hierarchy in different layers. In addition, to show the historical value of the church and reveal some the hidden details beneath the darkness. Introduce the church as a new landmark in Stockholm by its lighting and give it a high position in the visual hierarchy of the nocturnal silhouettes of the old town, as well as present the church as one of the unique parts of Stockholm.

Previous case studies and similar projects: 1- Luleå Cathedral: In Luleå between December and January, zero sunlight is dominant. One of the companies that participated in 2016 was Designat Ljus Europa AB with five highly appreciated lighting installations. The most noticed in the city was the lighting of Luleå's cathedral. Contrary to the current lighting, where the church is illuminated by the tower mast, which creates a colorless lighting plate on the building, Designat Ljus emphasized the richly worked architecture with a contrasting lighting set. With the help of light and dark niches, rosette windows, pinnacles, towers and pilasters. Luleå residents have talked about the fact that the church is now perceived completely different and details of the facades are made more visible. In its design, Designat used light beams in the FLC series, which are available with LED trim in effects between 12 and 104W. [21]

Fig 106: The Façade of Luleå cathedral after the light installation

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2- St. Johannes church: The church is perceived as a relatively dark silhouette in the city before the installation of the lnew lighting design and crimes have been reported in the direct surroundings. Black light design worked on the facade lighting of St. John's Church In 1881, a competition for proposals for a new church building won by architect Carl Möller with a proposal in neo-Gothic style. In the spring of 2011, Black was contacted by Stockholm City regarding the design of a security-creating facade lighting of St. Johannes Church. The lighting solution is based on and aims to combine a mood-lighting facade that highlights the church's architectural and aesthetic values, with a functional lighting that can provide a safer experience of the environment. The church is protected as a cultural monument, in order to make as little impact as possible on the facades. [22]

Fig 107, 108: Façade of St. Johannes church after light installation

3- In Lumine Tuo (in the Netherlands by speirs and major): For the concept, light was used as a narrative tool to connect the iconic 14th Century 112m high Dom Tower with neighboring Dom Church (St Martin's Cathedral) and Dom Square in an entrancing tableau. Character, historical and cultural significance informed the approach to each element. The light for the Cathedral is subtle and comes from within, with the outside faces kept relatively dark creating a lantern effect. Conversely, the Tower, visible from many parts of the city, is the dynamic showpiece. As the communicator of the narrative it is illuminated in a dramatic style to set off the gothic architecture. Every fifteen minutes in time with the Tower's clock, a light sequence begins. The three elements begin to slowly 'breathe' in unity, light establishing the connection between them. The play of light accelerates and memories, represented as bursts of light, appear to ascend the Dom tower through the arch, balances and bell tower. The sequence culminates just before the striking of the clock with a finale in the lantern, where the memories cluster and multiple flashes of light and shadow are unleashed to the sound of the pealing of bells. [23]

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Fig 109: Façade of St Martin's Cathedral after light installation

Mood board and inspiration: Layer one for the short distance around the church: Will focus on the area around the church, by showing the walls, the vertical elements, semi windows and some other details. Using the wall-wash on the brick walls can reveal all the details of the bricks material and give also a feeling as the building is floating as shown in fig 110. It can also be used for the vertical element with more vertical effect on the building as shown in fig 111. The semi-window and other details can lit by narrow beam or light strips as highlighted parts of the building as shown in fig 112

Fig 110: Brick walls lit by wall-wash

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Fig 111: A vertical element lit with wall-wash

Fig 112: Narrow beams are used for semi-windows

Layer two for longer distance: Will focus on the area at the edges of Riddarholmen especially in Gamla Stan by highlighting some parts of the roof or the small spires in the chapels as shown in Fig 113 and 114.

Fig 113, 114: The highlighted spires or domes have this feeling of the old lanterns

Layer three for very long distance: Will focus on long distance areas like the surrounding neighborhoods and the dark water of Mälaren at night by have some effects of a lighthouse.

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Fig 115, 116: Using of the lighthouse effect can be visible and attractive from very long distance

Light experiments of a physical model: By applying the mood board and inspiration on a physical model of the church, the experiments gave the following results: Layer one: In this layer LED strip is used to create the wall-wash effect as shown in Fig 117 which is a suitable way to show the brick material of the church. This layer is only considering the area around the church

Fig 117: The LED strip on the walls and the vertical elements

Layer two: In this layer the fiber optics are used to highlight the spires of the chapels as a way to attract people at the edges of Riddarholmen

Fig 118: The installation of the fiber optics helps to highlight the spires.

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Layer three: In this layer a compact fluorescent tube is used to give the effect of the Lighthouse as shown in fig 119

Fig 119: The compact fluorescent tube installed inside the spire of the tower

Fig 120: The whole physical model with the installation of three light layers

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Final concept:

Fig 121: Façade to the north with light effects. The suggested color temperature is 2700k

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Fig 122: Facade to south with light effects. The suggested color temperature is 2700k

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Fig 123: Façade to west with light effects. The suggested color temperature is 2700k

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Fig 124: Façade to east with light effects. The suggested color temperature is 2700k

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Discussion: Because of the historical importance of Riddarholmen, it is important to have a lighting design that show the historical value for the church. However, any lighting design should respct the historical environment of Riddarholmen by using a warm light color temperature which is suitable to the historical places to give this feeling of warmness and coziness in a cold city like Stockholm.

The strategic location of the church between the other historical landmarks in the old town makes it important for the church to be well visible. However, there is the problem of the light current which needs to be solve be adding some trees or something historical like the old houses in Skansen. Any way a solution for the wind is not considered in this thesis.

When analyzing the parts of the church there are some important parts to be focused on; the walls, vertical elements, spires and the tower in a way that makes light layers which leads to visual hierarchy. In order to make the church more visible from different distances

The way that people move towards Riddarholmen makes Karolinska chapel and the big to be the first parts to be perceived when people come to Riddarholmen or when people look at the church from the surrounding neighborhoods

In general the church is attractive place even in the dark. However, the church is not well visible for people in around and more light would attract more people to come and socialize around the church.

Conclusion: In conclusion, it is possible to answer the research question “Can light show the historical value of Riddarholmen church and how can light effects the church visibility from short and long distance?” by following a methodology of three parts and do the light experiments on a physical model.

Using a suitable lighting design can show the historical value and highlight the details of Riddarholmen church and make the church more visible and attractive place for people

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References: 1- [1] Svenskt ortnamnslexikon 2003 page 295 2- [2] Nordensvan, Georg Gustaf, 1855-1932/Stockholm : Fahlcrantz & K., 1895/http://libris.kb.se/bib/1625028 3- [3] Carlquist, Erik; Hogg, Peter C. Österberg, Eva (1 december 2011). The Chronicle of Duke Erik: A Verse Epic from Medieval Sweden 4- [4] Tony Griffiths, Stockholm: A Cultural History, page 9 5- [5] Olsson 1930, page 3-4 6- [6] Olsson 1930, page 10 7- [7] Lundin, Claës and Strindberg, Augus/ Gamla Stockholm: anteckningar ur tryckta och otryckta källor 8- [8] Bedoire 2015, page 36 9- [9] Olsson 1930, page 10 10- [10] Nordisk familjebok. Retrieved January 1, 2019/ Riddarholmen 11- Statens fastighetsverk Bygglovsansökan fasadbelysning, page 9 12- [12] https://www.yr.no/place/Sweden/Stockholm/Stockholm/statistics.html 13- [13] Olsson 1930, page 3-4 14- [14] Olsson 1930, Page 25-26 15- [15] Olsson 1930, page 22-25 16- [16] Olsson 1930, page 27-28 17- [17] Olsson 1930, page 29-30 18- [18] Olsson 1930, page 30 19- [19] Olsson 1930, page 14 20- [20] Olsson 1930, page 15 21- [21] https://www.flux.nu/projekt/lulea-domkyrka-ljussatts-pa-prov.html 22- [22] https://www.blackljusdesign.se/exterior/st-johannes-kyrka 23- [23] http://www.speirsandmajor.com/work/architecture/in_lumine_tuo

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Image source: 1- Fig 1: https://www.femina.se/17-somriga-utflyktstips-i-och-i-narheten-av-stockholm/ 2- Fig 2: By the author from Medieval museum- Stockholm 3- Fig 3: https://sv.wikipedia.org/wiki/Stockholms_blodbad#/media/File:Stockholm_Bloodbath.jpg 4- Fig 4: https://sv.wikipedia.org/wiki/Stockholm#/media/File:V%C3%A4dersolstavlan_1535a.jpg 5- Fig 5: https://www.svd.se/hur-allvarlig-var-slottsbranden-1697 6- Fig 6: https://sv.wikipedia.org/wiki/Gråbrödraklostret_i_Stockholm#/media/File:Klosterkällaren.jpg 7- Fig 7: https://sv.wikipedia.org/wiki/Riddarholmskyrkan#/media/File:Riddarholmskyrkan_och_Gråbröd raklostret_-_KMB_-_16001000544523.jpg 8- Fig 8: https://sv.wikipedia.org/wiki/Riddarholmskyrkan#/media/File:Riddarholmsbranden_1835.jpg 9- Fig 9: https://upload.wikimedia.org/wikipedia/commons/2/24/Gustav_II_Adolph_of_Sweden_grave_2 007.jpg 10- Fig 10: https://www.yr.no/place/Sweden/Stockholm/Stockholm/statistics.html 11- Fig 11: From Google Earth 12- Fig 12: From Google Earth 13- Fig 13: From Google Earth 14- Fig 14: From Google Earth 15- Fig 15: From Statens Fastighetsverk 16- Fig 16: By the author 17- Fig 17: By the author 18- Fig 18: From Statens Fastighetsverk 19- Fig 19: By the author 20- Fig 20: By the author 21- Fig 21: By the author 22- Fig 22: From Statens Fastighetsverk 23- Fig 23: From Statens Fastighetsverk 24- Fig 24: By the author 25- Fig 25: By the author 26- Fig 26: By the author 27- Fig 27: From Statens Fastighetsverk 28- Fig 28: From Statens Fastighetsverk 29- Fig 29: From Statens Fastighetsverk 30- Fig 30: By the author 31- Fig 31: By the author 32- Fig 32: By the author 33- Fig 33: From Statens Fastighetsverk 34- Fig 34: From Statens Fastighetsverk 35- Fig 35: By the author 36- Fig 36: By the author 37- Fig 37: By the author 38- Fig 38: From Statens Fastighetsverk 39- Fig 39: From Statens Fastighetsverk 40- Fig 40: From Statens Fastighetsverk 41- Fig 41: By the author 42- Fig 42: By the author 43- Fig 43: By the author 44- Fig 44: From Statens Fastighetsverk 45- Fig 45: From Statens Fastighetsverk 46- Fig 46: By the author 47- Fig 47: From Statens Fastighetsverk 48- Fig 48: From Statens Fastighetsverk 49- Fig 49: By the author 50- Fig 50: By the author 51- Fig 51: By the author

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52- Fig 52: From Statens Fastighetsverk 53- Fig 53: From Statens Fastighetsverk 54- Fig 54: By the author 55- Fig 55: By the author 56- Fig 56: By the author 57- Fig 57: From Statens Fastighetsverk 58- Fig 58: From Statens Fastighetsverk 59- Fig 59: From Statens Fastighetsverk 60- Fig 60: By the author 61- Fig 61: By the author 62- Fig 62: From Statens Fastighetsverk 63- Fig 63: From Statens Fastighetsverk 64- Fig 64: From Statens Fastighetsverk 65- Fig 65: By the author 66- Fig 66: By the author 67- Fig 67: By the author 68- Fig 68: From Statens Fastighetsverk 69- Fig 69: From Statens Fastighetsverk 70- Fig 70: From Statens Fastighetsverk 71- Fig 71: By the author 72- Fig 72: By the author 73- Fig 73: From Statens Fastighetsverk 74- Fig 74: From Statens Fastighetsverk 75- Fig 75: From Statens Fastighetsverk 76- Fig 76: By the author 77- Fig 77: By the author 78- Fig 78: From Statens Fastighetsverk 79- Fig 79: From Statens Fastighetsverk 80- Fig 80: By the author 81- Fig 81: From Statens Fastighetsverk 82- Fig 82: From Statens Fastighetsverk 83- Fig 83: By the author 84- Fig 84: From Google Maps 85- Fig 85: From Google Maps 86- Fig 86: From Statens Fastighetsverk 87- Fig 87: From Google Maps 88- Fig 88: By the author 89- Fig 89: By the author 90- Fig 90: By the author 91- Fig 91: By the author 92- Fig 92: From Google Maps 93- Fig 93: By the author 94- Fig 94: By the author 95- Fig 95: By the author 96- Fig 96: From Google Maps 97- Fig 97: By the author 98- Fig 98: By the author 99- Fig 99: By the author 100- Fig 100: By the author 101- Fig 101: By the author 102- Fig 102: From Google Maps 103- Fig 103: From Google Maps 104- Fig 104: From Google Maps 105- Fig 105: From Google Maps 106- Fig 106: https://www.flux.nu/projekt/lulea-domkyrka-ljussatts-pa-prov.html 107- Fig 107: https://www.blackljusdesign.se/exterior/st-johannes-kyrka 108- Fig 108: https://www.blackljusdesign.se/exterior/st-johannes-kyrka 109- Fig 109: http://www.speirsandmajor.com/work/architecture/in_lumine_tuo 110- Fig 110: https://www.pinterest.se/pin/432838214159959992/?autologin=true 111- Fig 111: https://www.pinterest.se/pin/823244006865677538/?lp=true

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112- Fig 112: http://ialdawards2014.conferencespot.org/awards-at-a-glance/001-in-lumine- tuo-1.1127527 113- Fig 113: http://ronelledgephotography.com/portfolio/basillica-di-santa-maria-maggiore- rome/ 114- Fig 114: https://500px.com/photo/22909529/ye-olde-lamp-by-nathan- gray?utm_medium=pinterest&utm_campaign=nativeshare&utm_content=web&utm_source=5 00px 115- Fig 115: https://www.esbnyc.com/explore/tower-lights 116- Fig 116: http://www.ronnyfriman.com/images/faros%20fyr%2002.jpg 117- Fig 117: By the author 118- Fig 118: By the author 119- Fig 119: By the author 120- Fig 120: By the author 121- Fig 121: By the author 122- Fig 122: By the author 123- Fig 123: By the author 124- Fig 124: By the author

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