Poetic Daylight – a pavilion for the perception of daylight

Daylight provides us with an understanding of time and space, specifying where we are in the world, every day. We delight in experiencing the changeability of daylight – from morning to evening perceiving how light and darkness affect the spaces surrounding us. This paper highlights daylight as one of the central elements in architecture, by emphasising its qualitative potentials: creating healthy, aesthetic, and poetic spaces. The setting for this study is a 1:1 pavilion, Poetic Daylight, built for the UIA Conference in Copenhagen. Presenting studies of scale models 1:10 and studies of the built 1:1 pavilion, this study lays out the possibilities and potentials in the use of scale models when designing spaces, with a focus on the qualitative appearances of daylight. Bearing the distinction laid out by Vitruvius in mind, i.e. firmitas, utilitas and venustas, the pavilion focuses on venustas (beauty or delight) in order to form spaces where the atmosphere and the beauty of daylight can be perceived and experienced. The Vitruvian concept of beauty, together with J. J. Gibson’s definition of the perception of an environment, constitutes the theoretical framework. The analysis and the description of the three different spaces in the pavilion relates to the theory on defining light as presented by Anders Liljefors in his compendium: “Seende och Ljusstrålning” where he describes seven variables of light and Sophus Frandsen’s definition of the four different kinds of shadows. The methodology involves the development of models, observations, and representations. This study shows that using 1:10 scale models in the design process to include qualitative aspects of daylight is practicable and effective, producing tangible and transferable knowledge that will influence the experience and perception of daylight in the built 1:1 pavilion, Poetic Daylight.


Introduction: Poetic daylight
This paper presents a study carried out to determine how an aesthetically pleasant environment in the pavilion Poetic Daylight situated in Copenhagen might be established.The pavilion was built for the UIA Conference in Copenhagen, July 2023.The pavilion aims to illustrate how daylight affects the perceived atmosphere within spaces.The pavilion has no 'function' in a traditional sense -its sole intention is that of creating spaces where one can perceive and experience various daylight scenarios.It intends to illustrate how aesthetically stimulating environments emerge through the interplay of daylight and architectural space.The scope of this paper is to describe the methodology of designing and testing such spaces.The study presented in this paper is a continuation of the study of the paper "Architectural scale models: Methodologies for studying daylight quality" [1].
The natural concern of architectural design is to design pleasant spaces for people, but this is sometimes outmatched by demands of documentation on technical aspects of the architectural design 1320 (2024) 012006 IOP Publishing doi:10.1088/1755-1315/1320/1/012006 2 schemes regarding durability, energy efficiency, etc.The same holds true for the daylight design that must meet standards described through quantitative data.This may reduce the attention given to the qualitative aspects of daylight design.The current project highlights the immense potential of daylight on the perceived architectural spaces and suggests how to keep focusing on the qualitative aspects of light and space.It presents a study which explores ways of including the qualitative aspects of daylight throughout the design process.It discusses the pros and cons of investigating the perceived atmosphere of a daylit space through scale models and questions whether it is possible to make design decisions regarding the qualities of light based on scale models.As the pavilion Poetic Daylight was erected during spring 2023 it gave the unique possibility to combine the scale models with the actual built spaces and to examine whether the intention of the concept was met in the experience of the real space.These investigations are in a direct continuation of a previous study, presented in the paper "Architectural scale models: Methodologies for studying daylight quality" [1] where only scale models and simulations were studied without the possibility of compare it to the actual on-site experience.The observations in scale models, the on-site registrations and the photographic representation were conducted by the research team, the authors of this paper.
The concept of the pavilion Poetic Daylight is to dedicate a series of spaces to each their daylight character.The three light characteristics, as they are defined in this project, relate to how science of meteorology describe light [2] and the terminology used when simulating light [3,4].The three spaces are linked by a dark corridor guiding the visitors from one room to another.

Theory: Beauty -in daylight
The scope of the pavilion is to point towards the impact of daylight qualities in an architectural context and to describe how various daylight openings affect the architectural space and the perceived atmosphere of the space.
Architecture or the body of architecture, corpus architecturae [5], was described by the Roman architect and engineer Vitruvius as a balanced relationship between durability, convenience, and beauty (Book 1, 2, 3) [6].This Vitruvian triad is probably the most quoted architectural theory in history; it stands out as an important text being the oldest and only surviving doctrine from classical antiquity.The German art historian and librarian Bernd Evers writes: "Vitruvius, the first of all architectural theoreticians, distinguishes between firmitas (firmness, robustness, structural strength), utilitas (usefulness or commodity), and venustas (beauty or delight).Firmitas relates to all technical matters such as the selection of a site, the materials, and the foundation, utilitas to the function of the building, and venustas to its aesthetics" [7].According to Vitruvius these three interrelated approaches produce the best architecture.And when architecture fulfils all three attributes, the architectural design achieves perfection.Vitruvius himself underlines that both laymen and architects can "recognize a good piece of work" (Book 6, 8, 10) [6].But the difference between the layman and the architect is that the layman will see this when the building is finished, and the architect will know during the design process: "Whereas the architect, as soon as he has formed the conception, and before he begins the work, has a definite idea on the beauty, the convenience, and the propriety that will distinguish it" (Book 6, 8, 10) [6].
Distinguishing between the three attributes of architectural design has inspired architects and architectural theorists throughout the ages, and new versions of the Vitruvian treatise have emerged, including various interpretations of the architectural design process.The organisation of architectural approaches into three relatively straightforward groups is an inspiring tool for architects to adopt and to relate the building design to.With reference to the distinction made by Vitruvius, the focus in the development of the pavilion Poetic Daylight was on venustas (beauty or delight), to form spaces where the atmosphere and the beauty of daylight can be perceived and experienced.
Navigating daylit spaces is also about sensing light.You register and understand it instantly and intuitively.You do not need an explanation of why and how the light is in the space and how it is distributed -the light is in the space, and you sense it.This immediate feeling and the intuitive registration of the surroundings, based on learned experiences in which the phenomenon is registered, can be linked to a phenomenological way of approaching the world [8].In The Ecological Approach to Visual Perception, the American psychologist James J. Gibson has described the perceptual approach to our visual environment as follows: "With what does one see the world (…) One sees the environment not with the eyes but with the eyes-in-the-head-on-the-body-resting-on-the-ground" [9].The connection between the visual perception and the 'whole' bodily perception of our world forms the basis for the methodology of the daylight studies presented in this study, both in regard to the scale models and the built pavilion.
The theoretical point of departure for the study of daylight in scale models and the experience of the daylit spaces in the pavilion are based on Anders Liljefors' approach to defining the perceived light [10] and Sophus Frandsen's categorisation of spatial shadow pattern [11].Liljefors distinguishes between light described through the physical definitions and the visual properties of light, respectively.Highlighting the different approaches to describing and defining light as both physical luminosity and perceived luminous impressions.This study has its main focus on the visually perceived luminous impressions of a space and refers to Liljefors compendium "Seende och Ljusstråling" [10] where he pinpoints seven variables to describe the luminous impression: "level of lightness, spatial distribution of brightness, shadows, reflections, glare, colour of light, and colours".
Sophus Frandsen has developed a categorisation of shadows based on the shadows size and location within a space.In his paper "The Scale of Light -a New Concept and Its Application" [11] Frandsen firstly groups the shadows into four categories: "big spatial shadows, big attached shadows, small attached shadows, and small shadows" [9].These four categories describe the types of shadow experienced within a space.And Frandsen unfolds how big and small has to be interpreted: "The terms big and small are to be seen in relation to the diameter of the human trunk" [11].In that way Frandsen positions people within the space perceiving light and space on site.Secondly, Frandsen defines how objects interact with light and creates various shadow types.He divides them into 11 types of shadows, ranging from 0 to 10 where all shadow types are defined depending on their relation between object, space and daylight opening, resulting in each their shading character.[11]

Methodology: Observations and representation of daylight
The purpose of the pavilion is to display and provide the framework for three different appearances of daylight.Daylight studies realised through drawing and modelling were the means to achieve this objective [12] together with the use of several types of observation and representation, with a focus on observation (human and scale models/spaces) and representation (human/ photographs).
The studies of the scale models were conducted in the Daylight Laboratory at the Royal Danish Academy -Architecture, Design, Conservation.The Daylight Laboratory facilitate studies of daylight at various latitudes and in two different daylight condition: an overcast sky and sunlight [13].The examination of the various designs in the scale models was made under the exact same daylight condition to ensure comparability of the various models.The surrounding conditions were included in the model to represent the light obstructions of the buildings in the context.
The 1:1 studies of the daylight were carried out in the pavilion at Gråbrødretorv in Copenhagen, where the pavilion is located.
The observation of the pavilion in both scale model and 1:1 was made by members of the research group and the design team.The photos in of both scale models and 1:1 was made taken by the research assistant.Based on these observations' conclusions and decisions were made on the design of the pavilion in relation to the overall concept: perceiving three different appearances of daylight.

Study parameters
The daylight studies were conducted using the following types of observation and representation:  Daylight observations in the scale models, 1:10  Photographic daylight registrations in the scale models, 1:10  Daylight observations in the built pavilion, 1:1  Photographic daylight registrations in the built pavilion, 1:1 In developing the design for the three main spaces in the pavilion, many scale models in 1:10 have been produced to test and illustrate the purpose of the daylight.After analysing the model in the Daylight Laboratory, new models were made until the desired result was reached.
3.1.1.Daylight observations in a scale model.All studies were conducted within the Daylight Laboratory, ensuring consistent lighting conditions and camera configurations, while observations and registrations were made from predetermined fixed perspectives.The scale model, crafted from woodpulp board, ensured a uniform surface across all studies.Considering its spatial characteristics, the model allowed examination from multiple angles, with a specific emphasis on interior daylight conditions.Its size enabled the observation of these conditions through a smaller opening, effectively preventing the intrusion of extraneous light [14].
3.1.2.Photographic daylight registration in a scale model.Similar scale models were used to register daylight across several series of model photographs.The registrations were captured using a wideangle 26 mm f 1.6 lens, with the camera positioned at the eye level of a standing person, equivalent to 160 cm.Ensuring uniformity in comparison, all model photographs were captured from identical positions.The series of photos showcases the interplay between the aperture and the appearance of daylight within the space [15].These photographic representations can be used as a tool for understanding the effects of the light and their perceptual qualities within the space.
3.1.3.Daylight observations in the built pavilion, 1:1.All observations in the pavilion were made over several days, at different times of day and under different weather conditions.
3.1.4.Photographic registration of daylight in the built pavilion, 1:1.The photographic registration of the pavilion made use of a wide-angle 26 mm f 1.6 lens.The level of the camera was placed at the same height as the eyes of a standing person, i.e. 160 cm.At the outset a series of photographs from different positions in the spaces were taken to start the process of capturing the daylight in the space.The same position for all the photographs are used in the documentation of the daylight conditions in the space in order to provide photos that are comparable to the photos of the scale model.

The pavilion, Poetic Daylight
The pavilion is 80 m 2 and consists of three main spaces connected by a dark corridor to create a pause and a contrast to the three main daylit spaces, which are characterised by three different appearances of daylight: light from the sky, light from the sun, and reflected light.When first entering the corridor of the pavilion, the eye adapts to the darkness so that the experience of the daylight in the three main spaces is even more striking and powerful.The surfaces in the pavilion vary and have been chosen to emphasise different types of atmospheres, created by the interplay between surface materials and daylight.
Given its location in Copenhagen, Denmark, the pavilion resides beneath a Nordic sky.The characteristics of Nordic light are defined by ample diffuse light originating from the sky and the relatively low position of the sun [2].These light conditions form the foundational framework for the perception and experience of the spaces within the pavilion.
In the design phase, as mentioned earlier, the focus was on venustas, the delight/beauty, of the space and how daylight interacts with and affects the experience of the space.Firmitas, the construction of the pavilion was realised with a view to the fact that the pavilion will be only temporary and moved to a new site later on.Furthermore, utilitas, an actual function of the spaces, was not part of the programme for the pavilion.Instead, the 'purpose' is to explore the potential of daylight in an architectural space focusing on the perceived atmosphere of the spaces.The focus on the beauty of the space is seen in relation to an intention of (re)introducing the various ways daylight effects spaces and the power of daylight to create inspiring, aesthetic, long lasting, and visually stimulating spaces.The design process has been characterised by an interdisciplinary collaboration between architects and engineers in praxis and researchers at the Royal Danish Academy -Architecture, Design, Conservation and Aalborg University, Build.The study is structured so that it first describes each space in general, in relation to the geometry of the specific space, and lastly in relation to how the daylight is experienced in the pavilion.

Light from the sky
The light from the sky above us envelops us.Resembling a vast luminous surface that gently bathes the surroundings and objects in a soft, diffused glow from all directions, thereby generating diffuse daylight.The light emanating from the sky is uniformly distributed, creating gentle shading which draws little attention and is therefore often overlooked compared to the sunlight.Depending on the design and orientation of a skylight, it provides a view of a particular part of the sky.On sunny days the space is illuminated by the blue sky, whereas on overcast days, it is illuminated by the white-grey sky.While the characteristic of the daylight and its even distribution within the space remain consistent, only the colours vary.When it is cloudy the colours are colder and bluer as opposed to when it is sunny, and the daylight takes on a warmer colour.
4.1.1.Light from the sky in the pavilion.In the skylit space of the pavilion, we encounter a precisely positioned skylight placed to channel the diffuse illumination from the sky into the space.This aperture is carefully aligned with the sun's path, allowing sunlight to illuminate the upper part of the aperture while preventing it from fully entering the space.Therefore, when entering the space only the diffuse light from the sky is visible.The surfaces of the space are characterised by a rough, matte texture and are finished with a cool white lime paint, to which a bit of blue has been added, to accentuate the effect of the diffused skylight.
4.1.2.Light from the sky in the scale model.The photograph capturing the daylight within the scale model conveys the experience of the gentle, diffuse light from the sky emanating from the funnel.The space appears bright, with subtle variations in shade without stark contrasts.The variations in levels of luminosity result from the intersecting surfaces of the ceiling, each emitting its distinct shade of light.The shadows within the scale model are perceived as gentle, diffuse shadows resulting in a wide variety of shadow effects in the space.The inclined surfaces of the ceiling create the darkest shadows in the space.The shadows accentuate the geometric forms, the intersecting surfaces that shape the funnel, and the diverse illuminated areas in the space.The scale model's wood-pulp surface forms a bright, matt surface which creates a light uniformly reflected from all surfaces.The material in the model is not representative, and it is therefore not relevant to describe the light's reflections, the glare of the surfaces, the colour, and the colour of light based on the scale model.3. Light from the sky and how it is perceived.When entering the space, the amount of daylight is overwhelming.The daylight is cold, diffuse and evenly distributed.If the sky goes from blue to overcast when experienced in the space, it transforms the space because the colour becomes colder.When observing the surfaces closely, all the small flecks appear and create their own shadows.This is where one becomes aware of the fact that daylight does not fit into any scale [1].The shadows are created below every small irregularity in the space.When observing the space for a whole day at the end of June, the funnel will be filled with sunlight, and because of the geometry of the skylight the sun will move round, dancing on the edge of it without crossing the lines, as the lines of the funnel are defined by the path of the sun.

Sunlight
All daylight originates from the sun.Sunlight is the most intense source of daylight and may be compared to a point-shaped light source that provides directed and warm light, which is why sunlight casts precise and distinct shadows with large contrasts.As the sun moves across the sky, it serves as an indicator of the time of day and of the season, thus contributing to our perception of a space in motion and allowing us to experience significant variations in the daylight in a space throughout the day.
If a daylight opening faces the sun, sunlight can move through the space in the course of the day.Sunlight is dynamic as its position on the sky varies throughout the day and because it creates contrasts between lighted and shadowed areas.The orientation, size, and design of an opening determine how sunlight enters a space.4.2.1.Sunlight in the pavilion.The sunlit space in the pavilion showcases the interplay between a southeast-facing light aperture and the warm, golden wooden surfaces of the space.In the space for sunlight, the surface is untreated pinewood, so the warmth of the wood enhances the warmth of the sunlight.The profiled boards add texture to the surface.The grooved texture of the pine boards emphasise the shadows in the space and how they change as the sun moves throughout the day.The profiles facing the space are sharp, but rounded at the bottom, thus creating a graduating shadow.The boards are placed vertically so that they create a pattern between the profiles and the joints of the boards which are narrower and create a darker shadow.The cladding in the space is uniform in order to create the feeling that the space is a complete and coherent space.The opening from the space to the corridor occupies the full width of the space to allow the daylight to flow to the darker corridor.The warmth of the sunlight and the untreated pinewood boards warms up the dark space.This changes the perception of the corridor and creates a sense of anticipation of the space to follow.4.2.2.Sunlight in the scale model.The space is experienced as a bright space characterised by big contrasts between the sunlight in the area by the light opening and the rest of the room.The surface above the opening shows the graduated lighting effect caused by the tilting of the surface.The shadows occur in the corners of the space where surfaces meet.The material of the model is not representative, and it is therefore not relevant to describe the light's reflections, the glare of the surfaces, the colour, and the colour of light based on the scale model.4.2.3.Sunlight and how it is perceived.The space has a relatively low opening; it is as wide as the entire space, but only 1.7 m high.This, initially, is an invitation for the visitors to sit down on stools placed in the space to let them experience the warm pleasure of occupying the space created by the sunlight in front of the window.The sunlight entering the space will change according to the time of day and year, and therefore the stools can be moved to where the sun is.The profiled cladding catches the daylight and reflects the sunlight further into the space, creating a brighter space.Also, by reflecting the daylight further into the space the daylight can reach all the way to the dark corridor.

Reflected light
Materials can absorb, transmit, and reflect light.This means that it is not just the daylight itself but also the interaction between daylight and materials that creates the daylight that surrounds us.Daylight interacts with materials which causes reflection, and the brighter the material, the larger the amount of daylight reflected.4.3.1.Reflected daylight in the pavilion.The third space of the pavilion is dedicated to reflected daylight and is fully exposed to the sky.The concept of the space draws inspiration from the small narrow courtyards found in the old parts of Copenhagen, where the glossy windows can reflect the daylight in the courtyard.Positioned beneath a grand, old sycamore tree, the space is characterised by the tree's branches and leaves, which act as a filter for the daylight while shielding the space from excessive heat during the summer months.When the leaves fall off the tree, the sun will enter and warm up the space in the cold winter.The surfaces in the space have a white, glossy finish.Glossy surfaces possess the ability to reflect and channel the rays of daylight in a particular direction, as they maintain a consistent angle of incidence and reflection.The glossy surfaces are perceived as both shiny and shimmering, changing in intensity based on our viewpoint.This showcases that the surfaces of our surroundings significantly influence our perception of daylight and contribute to the shaping of our luminous environment.

4.3.2.
Reflected daylight in the scale model.As the space is fully open towards the sky, it is bright and well illuminated.Shadows are big and full of contrast, but there are not many shadows, only from the edge of the space.As in the other spaces the material used for the model is not representative, and it is therefore not relevant to describe the light's reflections, the glare of the surfaces, the colour, and the colour of light based on the scale model.

4.3.3.
Reflected daylight and how it is perceived.When walking from the space for sunlight to the darker corridor the eye adjusts to the darkness, and when turning around the corner the daylight from the third space lights up the corridor, and already here the light is perceived as overwhelming.When entering the space for reflected light it is virtually impossible to keep one's eyes open.The light is reflected from all surfaces and is perceived as coming from all sides, not just from above.When the sky changes in the space, from overcast to clear blue, all the different shadows appear on the surfaces.The leaves cast shadows that move in the wind and the light is perceived as being even more powerful when the sun shines.This is evident in figures 8 and 9 in the comparison of the space in the scale model, without the context and the tree, and the picture of the actual space in the pavilion.The geometry of the space is simple; the surfaces are smooth and even, showing just the holes of the natural knots in the wood, so that the changes in the light are what changes and creates the space.The space holds the light, reflecting it all around.The photographs of the space for light from the sky in the scale model show that the space generally has a high level of brightness with contrasts between the opening and the ceiling, but otherwise it is a soft and diffuse daylight.This is also evident in the photograph of the space in the pavilion.A bright room with variations in the intensity of daylight.This is due to the geometry which is the same in the two photographs.Therefore, the large interior shadows are the same in the two photographs.Though the only shadows in the scale model stem from the geometry, the texture of the material casts no significant shadows, and the scale model has no representative surface either in terms of colour or texture.When observing the photograph from the scale model the colour of the light is warm due to the warmth of the material from which the scale model is made.The material has impact on the colour of the light and therefore what we perceive in the photographs of the pavilion has a significantly different effect.In the pavilion both the colour and the interior surfaces are different from the scale model.In the pavilion the wooden boards create horizontal shadows where they are joined, and they have a rough, granulated surface whose texture casts shadows; moreover, the surface is painted in a slightly blue-toned colour which enhances the coldness of the light from the sky.Therefore, we cannot, in the model, perceive the colours of the light or the shadow cast by texture.
The scale model can therefore be used as an effective and precise analogue tool to indicate the large interior shadows, the level of lightness, and the variation of daylight in the pavilion, but the details of the materials used in the pavilion add to the perception of the daylight.

Space for sunlight
As in the case of the space for light from the sky, the space for sunlight in the scale model is experienced as a bright space.The wide opening in the facade creates large contrasts.The light is perceived as having a warm tint due to the material of the scale model, but as mentioned earlier the material casts no significant shadows.In the space in the pavilion the wooden surface is also warm but has a different colour because of the untreated wooden boards.Furthermore, the surface is profiled and therefore the light is distributed further into the space than in the scale model.Also, both the profiles and the joints of the wooden boards create shadows while also creating brighter surfaces in the profiles which are not present in the scale model.

Space for reflected light
In the space for reflected light the difference also lies in the surface.The white, glossy paint highlights the effect of the reflected light, which is not the case in the scale model.Also, the context has an impact on the light in the space, as the light filtered through the foliage of the tree in the square influences the way the daylight is perceived.The scale model illustrates knowledge of the large interior shadows, but otherwise the space is simple in terms of materials, and the shadows are only created by the geometry.The photographs of the space in the pavilion make you aware that, in this context, the sycamore tree creates another world of light and shadows.This is what makes the difference from observing the scale model under controlled conditions in the daylight lab, where the circumstances of daylight are fully controlled.In the pavilion we cannot control the weather, nor can we prevent the sun from disappearing behind a cloud leaving the room in a totally different light.

Conclusion: Poetic daylight
With the Vitruvian triad, i.e. firmitas, utilitas and venustas, in mind, the design for the pavilion has focused on venustas (beauty or delight) in order to form spaces where the atmosphere and the beauty of daylight can be perceived and experienced.The study of the daylight characteristics of the three different spaces in the pavilion are based on Liljefors' seven variables for describing light quality.And the characteristics of the shadows are based on Frandsen's definition of four different types of shadow.The Vitruvian quality of beauty in conjunction with the definition from J. J. Gibson of the perception of an environment as well as the theory of perceived light by Liljefors and the definitions of shadow characters by Frandsen make up the theoretical framework for this paper.
Traditionally, architects' tools include scale models and photographs of scale models, and it is therefore relevant to compare them with the 1:1 space of the pavilion in regard to the focus of this study: the beauty of the daylit space.By observing the qualities of daylight in, respectively, the photographs of the 1:10 scale models and the built pavilion these comparative studies demonstrate that it is the large spatial shadows and attached shadows, in particular, that are most visible in the scale models, whereas the small attached shadows and those cast by details and textures are invisible.These results align with the experience of daylight as not fitting into a scale, whereas the perceived quality of daylight fits a scale [1].This is one of the challenges when attempting to predict the beauty and the qualities of perceived daylight in architecture.Acknowledging this, it is still very useful to include scale models in the design phase to inform qualitative aspects of daylight, since this study illustrates that the photos of the scale models can give tangible and transferable knowledge that will enrich the experience and perceived atmosphere of the daylight in the 1:1 built pavilion.The study explicates and illustrates that it is possible to make design decisions regarding the qualities of daylight based on scale models.

Figure 1 . 4 .
Figure 1.Overview of the three daylit spaces in the pavilion.

Figure 2 . 00 Figure 3 .
Figure 2. Photos of a scalemodel in an artificial daylight laboratory, 30th of July at 15.00

Figure 4 .
Figure 4. Photos of the space in the 1:1 pavilion in Copenhagen, 7th of July at 13.00.

Figure 5 .
Figure 5. Photos of a scalemodel in an artificial daylight laboratory, 30th of July at 12.00.

Figure 6 .
Figure 6.Photos of the 1:1 pavilion in Copenhagen, 7 th of July at 13.00.

Figure 7 .
Figure 7. Photos of the space in the 1:1 pavilion in Copenhagen, 7th of July at 13.00.

Figure 8 .
Figure 8. Photos of a scalemodel in an artificial daylight laboratory, 30th of July at 12.00.

Figure 10 .
Figure 10.Photos of the room in the 1:1 pavilion in Copenhagen, 7th of July at 13.00.