People: Behind the Light
Meet Richard Bolt, Partner – Celebrating 30 Years with dpa
In our inaugural Behind the Light series, Richard Bolt reflects on a career spanning 3 decades at dpa. Having joined the practice in 1996, Richard has witnessed, and helped shape, the growth of dpa into the international practice it is today and we are delighted to be able to celebrate his 30th Anniversary with the Practice this year.
Richard shares memories of his first award-winning project – Sir Giles Gilbert Scott’s Charterhouse Memorial Chapel in Godalming, Surrey, the refurbishment of the Hilton Athens ahead of the 2004 Olympic Games, when the hotel served as headquarters for the Olympic Committee, and moments that continue to make lighting design such a rewarding profession.
Richard also shares his life beyond the studio, including his passion for running, having completed 13 marathons and 3 ultra-marathons while raising money for various charities, including EduKid, which helped fund a new water pipe and pump for 2000 villagers in Gulu, Uganda.
What first attracted you to lighting design as a career?
My architectural degree tutor had advised me to try and find a specialism within building design, that may better suit me rather than pursue pure architecture as a career. During my post graduate Urban Design studies at Oxford Brookes, I went to the same newsagent and bought a bi-weekly recruitment paper and always headed straight for vacancies in Oxfordshire as I was really enjoying living there. Ironically, it felt that lighting design found me as in the paper one day I saw an advert for a position in North Oxfordshire “Junior Lighting Designer – architectural experience preferred”, to be honest I didn’t really know what Lighting Design was, but it sounded interesting, did my research, went for it and two interviews later got the job. At the same time, I turned down a trainee estate agent position in my home city of Bristol, hilarious!
Do you remember your first day at the Practice? What stands out most?
I recall vividly the friendly vibe and taking responsibility within a small team environment from the moment I arrived. These were the days of holding conversation whilst stood up at the drawing board, which I do miss. The champagne came out at about 7pm and I assumed this was a normal daily studio activity, but I think it was in celebration of a project that had just been completed!
What was your first project here?
The re-lighting of Sir Giles Gilbert Scott’s Charterhouse Memorial Chapel, Godalming, Surrey, which I worked on closely with Senior Partner Nick Hoggett, this involved undertaking lighting trials and demonstrating the lighting proposals to the client, which I recall feeling incredibly nervous about. As it was summertime, this of course involved late nights so the lighting effects could be fully appreciated. I thought at the time, welcome to Lighting Design! The project was truly memorable as it won an International Association of Lighting Designers (IALD) Award – not a bad start then!
Sir Giles Gilbert Scott’s Charterhouse Memorial Chapel in Godalming, Surrey: 1998
What’s the biggest change you’ve seen in the business over the decades?
Back in June 1996 when I started, dpa consisted of the Oxfordshire studio, 6 months later the London Studio was setup, followed by Edinburgh in 2000 (since closed), Dubai in 2004, Japan in 2007 and Athens in 2024. Now dpa has a team of 75, so growth has been transformational over the decades, and it has been an absolute privilege to have participated in the practice’s development during this period, working alongside such a committed and talented group, many of whom have also been at dpa for decades too.
What do you think makes dpa different from other practices? What is the best thing about working at dpa?
The scale of our Practice and close working relationship between our studios means we have been able to recruit from a wide variety of backgrounds such as Architecture, Urban Design, Interior Design, Product Design, various Engineering disciplines, the Theatre and so on. This broad skill base that now focus solely on architectural lighting design provides dpa with an unparalleled human resource and knowledge to deal with the varying challenges each project demands. The practice is completely adaptable, we can be working on a project which involves lighting a single piece of art, alongside master planning the lighting for a new piece of city, and everything else in between, across all sectors. The variety of project type and people we work with is enormous which means no two projects are the same, which keeps us on our toes!
After 30 years in the industry, what still excites you about lighting design?
The final lit result, when the project ‘noise’ has subsided, the final setting up and snagging has been completed and you have space to stand and reflect on the journey and achievements. It’s remarkable, there’s always something in a finished project that surprises you, something that no one could have predicted. This could be an incidental ray of light brushing across a surface or the mesmerising atmosphere created from a decorative light fixture glowing in a late evening scene.
How light interacts with evolving materiality and design within architecture, interior and landscape is what makes lighting design so intriguing, you are always learning and discovering!
Which project are you most proud of and why?
The Hilton Athens was completely refurbished ahead of the 2004 Olympics and became the HQ for the Olympic Committee during the games. It felt like this single project experience catapulted me forward within my lighting design career, it was all encompassing and being part of such a great project team made this so special and memorable. During the games I was fortunate to spectate the athletics at the Olympic Stadium and enjoy other events such as boxing, basketball and weightlifting, which was a fabulous way to finish the project.
Hilton Athens: 2003
If you could design the lighting for any building in the world, which would it be and why?
The Sagrada Familia, Barcelona resonates with me, I first visited in 1992 whilst on a university trip and was fascinated with its history and futuristic building design to completion. Of course, Gaudi’s concept was for the interior to be lit naturally through the interplay of sunlight and the colourful stained-glass windows, but to have had the opportunity of producing an artificial lighting design strategy would have been incredible!
What is your favourite place that you have visited?
I am fortunate to have experienced sunrise in Monument Valley, which straddles the Utah – Arizona border, USA and have sat there in awe of this inspirational desert natural rock formation, with the sun glancing across the open landscape, simply breathtaking and exhilarating. Travelling through the valley in an American Dodge van with a bunch of university friends back in the day, made the trip even more memorable!
What inspires you when you are away from the office?
I am a keen runner and have completed 13 marathons and 3 ultra-marathons, raising £15,000 for charities over the years. Last year together with my wife Becca, we raised £5,000 for EduKid to provide new infrastructure, labour and materials to create a new water pipe and pump for the village of Gulu, Uganda. The village population of over 2,000 now have access to local fresh water, whereas before they had to walk miles each day. I also follow my football team Bristol City whenever I can and was a grass roots football coach and manager for 13 seasons, until recently hanging up my boots!
If you could give one piece of advice to someone starting out in lighting design, what would it be?
Always have a tape measure to hand and try and explore the outdoors, keeping your ears and eyes open to the influence and impact of natural light, we have much to learn and appreciate from mother nature!
