Iben Winther Orton's belief in light extends beyond the spiritual realm, as she is a lighting designer and head of the lighting department at the engineering firm Rambøll.
Light follows you everywhere. Whether you find yourself on a bridge over train tracks in Østerbro or in a hospital room at Gentofte Hospital. And whether you step into the church at Rigshospitalet or stand outside Maria Kirken on Istedgade. Each place has unique conditions to consider, a special atmosphere that needs to be emphasized for the enjoyment of the people who are there. According to Iben Winther Orton, the quality of natural daylight is optimal, and when we can't have it, we have to settle for the next best thing - artificial light. It's no secret that Iben works with light from an unconventional background. She is trained in lighting, sound, and scenography at a theatre school in London. Perhaps that's why her professional skills have made her one of Denmark's leading lighting designers.
Danes harness the power of light
According to Iben Winther Orton, the title of "lighting designer" is relatively unknown in Denmark compared to other countries, and it surprised her when she returned after 10 years abroad.
— However, this is likely because Danish architects and engineers have always been attentive to the importance of light. In Denmark, where we have relatively little sunlight during the winter, we have a tradition of making the most out of it. We design our houses and rooms based on natural daylight and we are skilled at combining it with artificial light. Our long twilight period allows us to excel in blending different light sources. We have a fondness for natural daylight and its nuances, explains Iben, continuing on:
— Daylight is precious. It brings people together. Without it, we feel cheated. On the other hand, we have darkness for so long that artificial light is indispensable. In the world of theatre, we work with light in total darkness, providing a fascinating insight into the tools of light. From the contrast between warm, yellowish colour temperatures and cold, bluish ones, to the effects achieved with coloured lights - yellow, red, purple, blue, and green. We explore shadows, filters, and symbolism. And I incorporate all of these techniques into my work.
Lighting up Langelinie Bridge
One of Iben Winther Orton's first projects upon returning to Denmark was the bridge (designed by Bystrup Arkitekter) that connects the residential neighbourhoods of Østerbro with Langeliniepromenaden. In a groundbreaking move, Iben chose to incorporate neon lights into an architectural installation on the bridge. The walkway of the bridge was painted in a warm red hue, and the neon lights were adjusted to complement the lighting conditions on each side of the bridge – from the golden streetlights on the residential side to the cooler lamps on the seaside.
Tolerable conditions with artificial light
Light is a powerful tool that sets the stage for people's well-being everywhere. It is a creative force that needs to be used thoughtfully, according to Iben Winther Orton.
— Artificial light was first developed and widely used in the late 19th century, with the first lighting design project dating back to the 1930s in England with lighting designer Bentham as the pioneer. For many years, there was great enthusiasm for fluorescent tubes and powerful light sources. Later, the trend shifted towards PH lamps and their indirect lighting. There is no doubt that light affects our health, efficiency, and job satisfaction. Modern civilization has created a number of workplaces where we work tirelessly during the dark hours of the day. This creates a need for artificial light sources, she says, adding:
— The latest trend is tempered daylight, which creates an artificial circadian rhythm indoors. But no matter how skilled we become, artificial light can never justify people working at night or in darkness without natural daylight. We are not designed for that. But we can make the conditions more tolerable.
Flexible lighting provides a sense of influence
Iben Winther Orton's experience with using light in work environments demonstrates that people primarily need to have an influence on the lighting they work in.
— Our needs are different. What may be harsh and bright light for some, may work perfectly for others. The future of lighting is flexible in terms of setup, colour temperature, and hues. A great example of this is a project I worked on with interior designer Dorthe Andersen at Gentofte Hospital, where we worked on the lighting in a double room. The room was shaped like a rectangle with windows at one end. We couldn't change that. One patient was near the window, while the other was in the darker part of the room. This challenged us in terms of shielding, materials, and colours because there were two different needs in the same room, she explains.
The conclusion was that both patients were more satisfied with the lighting conditions if they had control over their light sources. This meant having flexible lighting above the bed, at the bedside, and in the ceiling. It gave the patients the ability to read, sleep, eat, have visitors, and be examined in different lighting for different situations. Flexibility promotes well-being and efficiency.
Divinely flexible light
One should not underestimate the healing and spiritual effects of light, according to Iben Winther Orton.
— In collaboration with architect Mathilde Petri, Iben Winther Orton undertook a lighting project at Rigshospitalets church. The church space is simple and square, presenting a challenge to create a solution that caters to the diverse needs of its visitors. Couples who have just lost a child, elderly individuals seeking a moment of prayer for their loved ones, and people who have received the joyful news of being declared healthy after a serious illness all come to the church. It is a space that encompasses sorrow, hope, and joy. Additionally, the church serves as a place of work for the affiliated priests who preach and connect with their congregation here.
— Our solution had to reflect all of these needs - and the solution was a massive light wall behind the altar that illuminates the entire space. The light wall fluctuates in colour temperatures, creating a dynamic lighting effect. However, for many people, it was too overwhelming and direct, despite numerous tests. The effect is symbolic, like a divine light flowing through the room. With modern technology, priests can adjust the light intensity according to their needs. Once again, the individual need for flexibility was at the centre."
Light invites you in
Iben Winther Orton has also utilized the symbolic impact of light in another project, which was carried out in collaboration with architect Tanja Jordan.
— In fact, we won the competition, but the solution has not yet been implemented. The location is Maria Kirken on Istedgade - one of Copenhagen's most hectic and vibrant streets. Around the clock, residents, hordes of tourists, drug addicts, prostitutes, and homeless individuals ensure that there is always life. The church is also home to Mariatjenesten, which is the centre of Kirkens Korshær's assistance work for the most vulnerable. The task was to create lighting on Mariapladsen outside the church. We wanted to symbolize the church's open arms into the public space, where it welcomes everyone in. Therefore, we chose to install a powerful spotlight inside the church, which shines through the church's mosaic window. Out onto the square, the light hits a huge suspended ball with a two-meter diameter made of metal wires with lots of glass pieces in different colours, which capture and reflect the light, creating an inviting and spacious atmosphere. An exciting and creative task, but all lighting tasks are a challenge - whether it is the National Museum of Art, Saxo Bank, DR Byen, or the Danish Sports Federation, concludes Iben Winther Orton.