RHS Chelsea Flower Show 2026 – Asthma and Lung Breathing Space Garden by Angus Thompson

Sponsored by grant-giving charity Project Giving Back, this serene woodland-edge garden is conceived as a restorative “breathing space” for people living with lung conditions. Accessible paths, therapeutic planting, and a tranquil platform for breath-focused practices come together to create a place to pause, regain strength, and reconnect with both self and others.
dpa’s lighting scheme is deliberately understated, carefully placing luminaires in concealed locations across the garden. Coordinated lighting to the perimeter panelling reinforces the architectural rhythm of this backdrop, providing this supporting light to the planting in the evening. Focus was given to the two sculptural pine trees with warm white uplighting to show their form and draw the visitor towards them into the garden. Once at the architectural pavilion, a simple glow of light beneath the minimal bench offers sufficient soft brightness and encourages the user to pause and enjoy the space.

Following the show, the garden will be relocated to the Breathing Space lung rehabilitation centre in Rotherham, where it will become a permanent therapeutic landscape. Supported by Asthma and Lung UK and maintained in partnership with the local community, it will continue to provide holistic support for people living with lung conditions.

The garden was designed by Angus Thompson, who was awarded a Silver medal at the RHS Chelsea Flower Show 2026 for this beautiful creation.

Landscape Design: Angus Thompson Design
Project Manager & Landscape Contractor: Dan Flynn
Electrician: Christopher Tomlinson – Inglewood Power
Lighting Manufacturer: Light Graphix
Photography: Rachel Warne Photography / dpa lighting consultants

dpa were invited to collaborate with DRK Lighting to create an installation for the [d]arc Awards 2026.

Inspiration was drawn from the whimsical mechanical inventions of William Heath Robinson; his eccentric, machine-like constructions lend themselves to playful, kinetic installations. The piece also captures the essence of Olafur Eliasson’s 2003 work, ‘The Weather Project’. The sun, a powerful and recurring motif throughout art history, became a core influence, acting as a visual focal point for the design.

‘Solaris’ takes the form of a sun-shaped automaton powered by visitor interaction, encouraging active participation, and creating the sense of stepping into a living artwork. Bright red, green, blue, and white LED rings evoke a rising and setting sun, shifting from a warm red glow to a cool blue tone. Tuneable white LED linear complements the central piece. Mirrored mosaic materials enhance this transition by skewing and scattering the light, generating unique reflections that draw attention and spark curiosity.

Sustainability plays a significant role in the design, with the mechanism and structural components crafted entirely from recycled materials, offering an environmentally conscious, dynamic, and engaging experience for [d]arc visitors.

Photography: dpa lighting consultants

dpa lighting consultants is collaborating with LAVA and a consortium of specialists to develop the concept masterplan and legacy designs for Expo 2030 Riyadh.

We were appointed by LAVA to work on the lighting design for the masterplan.

Following the recent endorsement of the Registration Dossier by the Bureau International des Expositions and the formation of Expo 2030 Riyadh Company,  LAVA (Laboratory for Visionary Architecture), the appointed concept masterplanners, share their transformative thinking for the Expo 2030 Riyadh and its legacy.

LAVA’s ambitious design reimagines the World Expo as a catalyst for long-term sustainability, cultural exchange, and innovation.

Strategically located between King Salman International Airport and Riyadh City, the masterplan for the Expo 2030 Riyadh site is not only designed to host the global event but to evolve seamlessly into a lasting legacy: a dynamic Global Village centered around retail, dining, and community experiences.

At the heart of this ambitious vision is a deeply collaborative process, shaped by a team of expert advisors, led by LAVA. Together, they have established the core design principles that underpin the masterplan, each one developed with specialist insight and careful attention to place and purpose.

Instead of imposing a traditional urban grid, the masterplan uses the reactivated wadis as the foundation for an organic and interconnected network of spaces. This approach encourages biodiversity, establishes shaded pedestrian pathways, and fosters natural cooling microclimates—crucial elements in addressing Riyadh’s desert climate.

Drawing inspiration from Saudi Arabia’s distinctive landscape—especially its seasonal riverbeds and wadis—the design reinterprets and regenerates these natural formations, breathing life into the site through ecological restoration.

A cutting-edge, site-wide mobility system overlays the site without disrupting the preserved nature corridors. This ensures efficient movement while protecting vital green spaces.

To optimise both spatial and environmental performance, the plan incorporates fractal geometries—a design approach that enhances airflow, light distribution, and energy efficiency while also enriching the human experience.

These geometries express a powerful design philosophy that bridges the global and the local, aligning perfectly with Expo 2030’s overarching theme: Foresight for Tomorrow. The result is a new model for urbanism—where culture, nature, and innovation are not only integrated but celebrated.

Expo 2030 Riyadh is set to be more than a world event. It’s a blueprint for a sustainable, inclusive future—and a new paradigm for how cities can grow, thrive, and endure.

Lead Consultant / Architect / Master Planner: LAVA
Infrastructure, Utilities, MEP Engineering, Structural Engineering ECC & Vertical Assets: 9e Global
Acoustics, Audio Visual, Broadcast, ICT, Security and Theatre and Staging: Barc Solutions
Governance, Strategic planning, Mobility planning, Crowd modelling, Sustainability and Smart City: Buro Happold
Major Events & Expo Advisor: Christine Losecaat MBE
Accessibility & Fire, Life & Safety: Design Confidence
Exhibition Design – Icon, Souk, and KSA Pavilion: Expo Pavilion Group
Operations Consultants: Event Planning Group
Hospitality Consultant: Gorgeous Group
Landscape Architecture: LAND Italia
Ecosystem Assessment and Parametric Design: LAND Research Lab
Hydrology Plan, Waste Management, Environmental Plan, Climate Change Report (contribution with BH): Montana
Architect of Record: Omrania
Design Management: Plan A
Transport, Mobility & Logistics Consultant: REDAS
Expo Design Strategic Advisor: Samantha Cotterell LLC
Structural Engineer – KSA Pavilion: Schlaich Bergermann Partner (sbp)
Wayfinding & Signage: Space Agency
Hospitality Consultant: Think Hospitality
Structural Engineer – Icon: Thornton Tomasetti
Climate Engineering: Transsolar KlimaEngineering
F&B Consultant: Tricon

dpa was delighted to collaborate with acclaimed designer Tolù Adèkó on the lighting design for the temporary Palomino VIP Lounge at Decorex 2025.

Guided by Tolù’s creative vision, the lounge was conceived as an elevated, immersive environment inspired by Olympia’s rich heritage as a stage for spectacle and performance – from equestrian displays to grand circus acts.

The design featured five distinct spaces, each crafted in collaboration with exceptional artisans, whose work it was a pleasure to illuminate and celebrate.

The lighting design combined a balance of directional accents to highlight craftsmanship and materiality with decorative luminaires, both off-the-shelf and the bespoke centre-piece, to create depth, warmth, and a sense of refined drama throughout the space.

Client: Decorex 25
Interior Designer: Adẹ̀kọ́ & Co.
Photography: Darren Chung

In early October, five designers from dpa’s Oxfordshire studio took part in the Ready, Steady Light 2025 competition. Their installation, titled “Shelter,” explored the primal relationship between light and refuge.

From ancient times, humans have gathered around fire for warmth and protection beneath the open sky, our first natural source of nighttime light. Drawing inspiration from this elemental connection, the team utilised battery-operated, colour-changing LED projectors to recreate the night sky in one of its most awe-inspiring phenomena: the aurora borealis.

At the heart of the scene, a fire pit glowed gently, lit by a single narrow-beam spotlight discreetly nestled within the natural landscape.

The design evoked a sense of wonder and sanctuary, blending narrative and atmosphere to celebrate light as both a guide and a comfort.”

The National Memorial Arc is a landmark commemorative installation honouring the 121,692 individuals who fell in various wars for Greece. The design is articulated through a sequence of vertical glass panels rising from the ground in a labyrinth-like arrangement, each one etched with the names of the fallen. This transparent architectural gesture not only conveys solemn remembrance but also establishes an active dialogue between material, light, and space.

Conceived by internationally renowned sculptor and Professor of the Aristotle University of Thessaloniki, Costas Varotsos, the memorial relies heavily on the dynamic qualities of glass and its ability to capture, refract, and transmit light. The purity of the medium allows natural daylight and carefully integrated artificial illumination to define the perception of the installation, shifting throughout the day and evening to create an evolving experience for visitors.

dpa played a central role in translating the artistic vision into a coherent lighting strategy. This process included extensive studies on the optical behaviour of glass, the development of mock-ups to test transparency, reflection, and refraction, and detailed technical drawings to optimise fixture placement and concealment. Special consideration was given to glare control and the long-term durability of the installation in an exposed environment.

The close collaboration with the artist ensured that the memorial functions not only as a sculptural landmark but also as an immersive lighting composition. The final result demonstrates the precision and sensitivity of lighting design in reinforcing memory, presence, and meaning within a public space.

Sculptor: Costas Varotsos
Photography: Courtesy of dpa lighting consultants

Expo Osaka 2025 opened on Sunday 13th April 2025 and dpa were delighted to have worked on the USA Pavilion’s exterior architectural lighting design alongside Alchemy, ES Global, and Trahan Architects.

The iconic USA Pavilion celebrates the best of contemporary American architecture and spirit, culture and innovation, and is inspired by historic Japanese architecture and ancient footbridges.

Located prominently within the Expo’s Grand Ring, the pavilion sits halfway between the Forest of Tranquility and the East Gate Entrance Plaza, serving as a visual gateway for all visitors.  Open, grand yet minimalistic, the pavilion is inspired by natural and urban canyons. Two triangular buildings create a central plaza and serve as expansive wings with LED screens depicting iconic and dynamic images of American landmarks and landscapes.

The plaza arches gently, travelling beneath the instantly recognisable central ‘floating’ translucent cube, creating a unique visitor journey through the space. From east to west, the plaza narrows to a convergence point, creating a sense of calmness within a garden of serenity.

Design-Build Contractor / Client: ES Global
Design Integrators: Alchemy
Pavilion Design: Trahan Architects
Exhibition Media & Design: BRC Imagination Arts
Engineer of Record: Meinhardt / E&M Consulting Engineers Inc
Landscape Concept Design: Hood Design
Concept Lighting: Dot Dash
Signage & Wayfinding: Studio Loutsis
Façade: True Staging
Photography: © Hufton+Crow (4th image taken by dpa)

The Museum of Islamic Art was originally built in 2008, with architecture by IM Pei, and the exhibition galleries designed by Paris-based architects and designers Wilmotte & Associés Architectes.

It is a globally acclaimed museum and houses one of the largest and most important collections of Islamic art in the world. In 2021, the museum commenced the process of refurbishing the galleries and re-configuring the exhibits across the galleries to significantly enhance the visitor experience. This project was put out to competition and Wilmotte & Associés again won the commission. dpa lighting consultants were honoured to be part of the winning team and worked closely with Wilmotte & Associés, as well as the many other specialist consultants on the project. The display of exhibits was reorganised and new exhibits added, with some large new pieces such as the ‘Damascus Room’.

It was recognised that a significant part of the new project would be to upgrade the lighting. The original lighting scheme used old tungsten halogen light sources and custom-made motorised remote-controlled light fixtures which no longer worked. Fibre optic lighting within the display cases had old technology and its efficiency had become very poor. The control system did not work as required and would need a complete overhaul. The dpa team developed a new scheme and specification of light fixtures suitable for the present day and into the future. All light sources were changed to LED and new custom-designed remote control light fixtures were designed to fit within the existing ceiling design. Fibre optic systems were upgraded, and a new Xicato Bluetooth control system was integrated to bypass the existing and obsolete original system which could not be saved. Many mock-ups and trials were carried out to ensure the optimum results. Conservation and colour rendering considerations were critically important for most of the exhibits so light source specification and dimming control had to be optimised. The project was challenging in many respects but extremely rewarding for the team, and it was a privilege to have been involved with this project.

Client: MIA led by MIA Director Dr. Julia Gonnella
Lead Designer: Wilmotte & Associés Architectes, led by Emmanuel Brelot
Project Management: Gleeds France
MEP: Cundall
Muséographe: Lydia Elhadad
Audio Visual: Soheil Ghodsy
Video:  Video Amplitude, France
Signage: Ent-Id, France
Main Contractor: Boom Construction, Qatar
Photography: courtesy of MIA & Qatar Museums

dpa were privileged to be invited to illuminate The Constellation, a monumental public artwork that forms the centrepiece of The Founder’s Memorial in Abu Dhabi, a permanent national tribute to the UAE’s founding father, the late Sheikh Zayed bin Sultan Al Nahyan.

The artwork was conceptualised and designed by artist Ralph Helmick, whose practice explores human perception through large-scale public sculptures and installations that invite optical discovery.

dpa collaborated closely with the artist at both his studio in Boston and during the extensive lighting trials that were conducted in Abu Dhabi to achieve the optical visual performance of the lighting scheme that enhances this world class artwork. Particularly challenging was the task of conceptualising and developing a lighting scheme that would highlight the unique artwork from multiple viewing angles, whilst retaining the subtle complexity and depth of the sculpture.

The Constellation  consists of over one thousand three hundred geometric shapes suspended from more than one thousand tensioned cables. These elements constitute varying sizes of the five different types of regular, convex polyhedrons known as ‘platonic solids’, which are renowned for their mathematical beauty and symmetry. In order to achieve three dimensional rendition of the sculpture at night, seven hundred and fifty three downlights and twelve hundred and three uplights were custom made to illuminate the sculpture from above and below.  Each fixture is fitted with a 3.5w warm white LED and integral DMX control, which enables the exact tailoring of the lighting scheme to respond to the differing textures and forms of the individual and collective solids that make up the artwork.

The Constellation is situated within the landscape of The Founder’s Memorial, which features plants indigenous to the Arabian Peninsula, an elevated walkway offering breathtaking views of the city, and a Welcome Centre with a state-of-the-art multimedia experience. Housed within a pristine, prismatic Pavilion at the heart of the space, the suspended solids of The Constellation shine like stars within the night sky. This celestial display evokes the timelessness of Sheikh Zayed’s vision, which continues to offer the UAE people guidance along a path of progress and prosperity.

Project Owners: Ministry of Presidential Affairs
Artist: Ralph Helmick
Photography: Alex Jeffries Photography Group

Located on 110 acres of land to the north of Bangalore is Manyata Embassy Business Park, one of the largest operational technology and business parks in India, home to both large global brands and small start-up companies. dpa developed and implemented the design of the lighting masterplan for the entire site including the soft and hard landscaping, pedestrian and vehicular circulation, and building facades. The Binary Sculpture artwork is the centrepiece of the entrance plaza, greeting all visitors to the site. dpa worked closely with the artist, Romicon Revola, to implement her desire to create a sculpture whose form was expressed by concealed integrated lighting. The sculpture itself is a 3 metre cube constructed from stainless steel, each of the four visible faces has an array of “0” and “1” binary cut-outs, making reference to the IT nature of work of many of the park’s companies. Located directly behind each cut-out is an acrylic diffuser and behind this an LED colour changing node, each node is individually addressable and programmable allowing its colour, brightness and fade rate to be controlled separately from all of the other nodes, and hence “0” or “1”, in the installation. This permits for an almost endless number of visually dynamic effects to be created, resulting in a vibrant, eye catching piece of artwork.

Client: Embassy Group
Project Management: Synergy
Artist: Romicon Revola
Landscape Architect: Design Cell

The house of Sheikh Saeed Al Maktoum was built in 1896 and was inhabited by the Sheikh from 1912 until his death in 1958. Al Maktoum Residence charts the meteoric rise of Dubai from regional town to global metropolis. Visitors to the museum will gain a fascinating insight into the history of this pioneering region and its most famous family, history and conflicts.

The museum consists of over 30 rooms, each dedicated to differing narratives of the Al Maktoum Family. From the terraces you can appreciate the historic view of Dubai Creek and the Persian Gulf whilst on the other hand the contemporary city skyline reminds you of Dubai’s ambition and future direction.

Working closely with GSM Project, dpa developed a lighting scheme to help the viewer understand the significant local, regional and global contexts of the Al Maktoum Family, Dubai and their closely interwoven heritage.

In conjunction with the Perfume House and Story of the Creek, dpa developed a robust, pragmatic yet flexible lighting concept that enabled all aspects of the Al Maktoum Residence experience to develop at an individual level.

Architectural features have been highlighted to enhance the traditional building materials and techniques, whilst contemporary exhibition interventions are dealt with sympathetically.

Conservation played a major role in the illumination of certain spaces. Lighting equipment was sensitively located in order to provide maximum function with minimal impact.

Technology has formed a significant part of the realisation of this project. A sophisticated, dedicated architectural lighting control system forms the backbone of the scheme, ensuring the correct operation of the system whilst delivering flexibility along with cost and environmental benefits.

Client: Dubai Municipality 
Interior/Exhibition Designer: GSM Project
AV Consultant: XYZ Cultural Technologies
Photography: Alex Jeffries Photography Group
Visuals: dpa lighting consultants

Located within the dynamic and ever evolving Shindagha district this new addition to Dubai’s renowned cultural quarter, the Perfume House represents a valuable insight into Emirati Culture, Social Rituals and Heritage.

The re-appropriation of the building, consisting of one main covered gallery with smaller galleries and an external courtyard, help to trace and define the narrative of scent and perfume making through the ages.

Individual galleries tell the story of the regions complex and personal relationship with scent and perfume whilst detailing the geopolitical and demographic impact associated with the inevitable trade routes that developed and strengthened over time.

GSM Project developed a blend of traditional, contemporary, unique, interactive and immersive spaces that delight the senses whilst delivering a strong educational and heritage message.

dpa responded to this brief through the development of a robust yet flexible lighting concept that enabled all aspects of the museum experience to develop at an individual level.

Traditional exhibits such as vessels and stone work were illuminated to enhance their tactile and material qualities. More contemporary exhibits such as interactive screens and scent stations demanded a less intensive approach to illumination.

The building itself is a canvas upon which the exhibition is cast.

Extensive use of existing architectural features have been highlighted to reveal colour, contrast, form and texture helping to complement and reinforce the sense of heritage within the building.

Technology has formed a significant part of the realisation of this project.  A sophisticated, dedicated architectural lighting control system forms the backbone of the scheme, ensuring the correct operation of the system whilst delivering flexibility along with cost and environmental benefits.

Client: Dubai Municipality
Exhibition Designer: GSM Project
AV Consultant: XYZ Cultural Technologies
Photography: Alex Jeffries Photography Group

Located within the dynamic and ever evolving Shindagha District this new addition to Dubai’s renowned cultural quarter, Dubai Creek: Birth of a City represents a valuable insight into Dubai’s historic and remarkable contemporary story.

The exhibition, consisting of several main galleries and an interactive cinema experience help to retell the story of Dubai Creek and its most important asset, it’s people.

GSM Project developed a blend of traditional, contemporary, unique, interactive and immersive spaces that delight the senses whilst delivering a strong educational and heritage message.

In conjunction with the Perfume House, dpa lighting responded to this brief through the development of a robust yet flexible lighting concept that enabled all aspects of the museum experience to develop at an individual level.

Traditional exhibits such as maps and chandlery were illuminated to enhance their tactile and material qualities.  More contemporary exhibits such as interactive models and history stations demanded a less intensive approach to illumination.

Architectural features have been highlighted to enhance the contemporary exhibition interventions against the more traditional building fabric whilst still revealing colour, contrast, form and texture

Technology has formed a significant part of the realisation of this project.  A sophisticated, dedicated architectural lighting control system forms the backbone of the scheme, ensuring the correct operation of the system whilst delivering flexibility along with cost and environmental benefits.

Conservation also played a major role in the illumination of certain spaces and artefacts within this exhibition. dpa worked closely with the curators to deliver precise amounts of illumination to specific sensitive exhibits.

Client: Dubai Municipality
Exhibition Designer: GSM Project
AV Consultant: XYZ Cultural Technologies
Photography: Alex Jeffries Photography Group

The Statue of Unity is the world’s tallest statue, with a height of 182 metres, located in the state of Gujarat, India. Depicting Indian statesman and independence activist Vallabhbhai Patel, the statue was designed by Indian sculptor Ram V. Sutar and inaugurated by the Prime Minister of India, Narendra Modi on 31 October 2018, the 143rd anniversary of Patel’s birth. dpa worked with Larsen & Toubro, Graves Architects and Turner India to create an iconic lighting scheme befitting the world’s tallest statue. The statue is constructed of 3D formed bronze clad around steel and concrete core and situated on an island in the river basin of the Narmada River and the Sardar Sarovar dam. Lighting a 182m statue from its small island base presented many challenges making a traditional statue uplight scheme impossible. dpa conducted 100s of lighting calculations, pushing the limits of the lighting software, to create a scheme focusing on the important elements of the statue such as the face and hands. Special attention was paid to the key viewing points of the statue from the mainland and visitor’s centre. The final scheme used a mixture of LED projectors utilizing wide to super narrow beam angles with custom cowls and louvres for maximum control of the light beams. These were concealed within the planting around the base of the statue, on the roof structure of the pedestrian bridge, and mounted on retractable columns hidden from view in the daytime on the mainland and a small island behind the statue. 2700K was used to enhance the warmth of the bronze cladding and avoid any lighting within the blue colour spectrum reducing the impact on the local ecology.

Sculpture Artist: Ram V. Sutar
Architect: Michael Graves
Engineering & Construction: ITG
Photography: statueofunity.in

dpa lighting consultants worked in collaboration with the office of renowned architect Eva Jiřičná to create the Tiffany Gallery for the redesigned Luce Center on the fourth floor of the New-York Historical Society Museum & Library.

dpa also worked closely with the New-York Historical Society on this project. Specifically the brief required the creation of a spectacular, custom-designed glass gallery showcasing the Museum’s preeminent collection of Tiffany lamps. The gallery of Tiffany lamps, comprises a 4,800-square-foot, two-story space measuring nearly a city block with its elegant glass Norman S. Benzaquen Grand Staircase.  As the centerpiece of the fourth floor, the gallery features 100 illuminated Tiffany lamps from New-York Historical’s collection displayed within a dramatically lit jewel-like space that visitors can access through the Geduld Family Gateways.  The project was inspired by New-York Historical’s discovery of the unknown story of Clara Driscoll and the “Tiffany Girls,” who designed and created iconic Tiffany lamps at the turn of the 20th century, many of which are in the Museum’s collection.

“The reopening of our Henry Luce III Center on the fourth floor of our landmark building marks a new and dramatic phase in the evolution of New-York Historical as one of the great showcases for architectural innovation in New York with, among other spectacular features, a bi-level glass Tiffany lamp gallery that is a major feat of design and engineering,” said Dr. Louise Mirrer, president and CEO of the New-York Historical Society.

Nick Hoggett, Partner at dpa lighting consultants and lead on the project adds: “It was a wonderful project to be part of, the technical challenges of showcasing lamps that are over 100 years old in some cases, with contemporary context and techniques, was one we relished.  The Tiffany Girls remain an inspiration to all of us interested in light.”

The glass stair underwent considerable design input by all concerned, dpa and EJA carried out numerous studies and mock-ups, which has culminated in the carefully integrated linear LED lighting elements to the stair treads and supporting fins. A cool crisp white light was chosen so as to complement the glass structure whilst also complementing the warm white light used within the Tiffany lamps and elsewhere within the gallery space.

Eva Jiricna Architects designed special curved glass showcases to house part of the Tiffany collection and perimeter glass showcases for the remainder of the various Tiffany lamps that are now on show. Artificial lighting has been carefully coordinated within the showcases with a combination of fibre optic spotlights and various LED sources.

The lamping of the Tiffany lamps themselves raised some interesting philosophical questions which were debated with the curatorial team at the museum and internally at dpa. One key question was whether the lamps used should provide an accurate representation of the tungsten lamps used historically or whether the visual impact of the Tiffany lamps was the most important factor. After much debate and trialling of numerous retrofit LED lamps, a palette of high CRI ‘filament style’ LED lamps was settled upon which paid respect to tungsten sources in terms of look, colour temperature and colour rendering but offered the energy savings of LED and reduced the heat build-up within the display cases. Another question included whether specific lamps should be provided with additional illumination to further reveal and highlight the craftsmanship and decoration of their bases. Several mock-ups were carried out using fibre optic sources but it was eventually decided that the lighting of the bases should reflect how they were presented historically using the spill light from the shades above.

Whilst the glass staircase and Tiffany lamps themselves are the star attractions in the gallery, the lighting design challenges also included the integration of illumination to non-self-illuminated exhibits and also the descriptive texts and graphics within the gallery. dpa worked closely with the architects and the display case suppliers to integrate and conceal lighting within the cases and again mock-ups proved an invaluable tool in the testing and refining stages of the casework development.

Whilst the Tiffany gallery predominantly provides a stunning space within which to display the Tiffany lamps and present their history, the gallery can also be used by the museum to host special events. In order to respond to this additional requirement, the coves which are ordinarily lit in blue to reveal the barrel vault ceiling can be set to differing hues and brightness via a DMX system to set a more celebratory tone within the gallery.

Rounding off the floor, the Robert H. Smith Family Skylight Gallery designed by Eva Jiricna Architects provides visitors an airy, sun-soaked lounge space where they can reflect on their experience beneath a historic skylight that was part of the building’s original construction, restored with the generous support of American Express.

Client: New-York Historical Society
Architect: Eva Jiricna Architects
Local Architect: PBDW Architects
Structural Designer for Staircase: GL&SS Consulting Engineers
Lighting Control Systems and Integration: Westview Productions
M&E Consultant: ads Engineers
Photography: Corrado Serra and Jon Wallen

dpa are immensely proud to have been invited to design the lighting for the newest gallery space in Alserkal Avenue Dubai.

Ishara Art Foundation is a non-profit contemporary art space centred on South Asia, established by Smita Prabhakar, collector and UAE resident and curated by specialist in South Asian art, Nada Raza. The current exhibition, Altered Inheritances, is a collection of work form artist Shilpa Gupta and Zarina.

dpa worked closely with the foundation team and architect Rahoul Sing from RLDA Architecture to conceptualise and develop a flexible and modern lighting scheme for the two floors of the gallery. As the art pieces and gallery layout will change from time to time, the lighting needed to be flexible in design to allow for all eventualities yet at the same time be uncluttered, elegant and identifiably different from other galleries. A carefully considered arrangement of recessed track under the mezzanine level allows for multiple luminaire mounting positions together with versatile spotlights with interchangeable lenses so that every art piece can be correctly addressed. For the atrium space the ambient and iconic lighting is created by 3 diminishing custom made squares suspended from the structural ceiling. Each square is an unbroken line of light with the ability to hold any configuration of spotlights, all independently controlled.

Architect: Rahoul Singh, RLDA Architecture
Photography: Photographer Ismail Noor/Seeing Things. Images courtesy of Ishara Art Foundation 2019.

We are very proud to announce that Ingo Kalecinski, dpa Associate based in our London Studio, has recently won a competition at the London Design Festival for his design of a GOBO projection. The challenge set by WE-EF Lighting was to create an illustration that addresses “how design can help create environments that foster well-being and enrich our lives”.

“The inspiration for the design came from west-facing building façades that I often observe from my living room when they reflect the sunset against the eastern sky above them, that is already immersed in darkness. These glazed facets pick out this magical, warm glow and turn into temporary beacons of light dotted into the otherwise dark concrete jungle surrounding them.

I have always been intrigued to find out what these intense pockets of light must feel like close-up. Ironically once you have made your way over there, they would inevitably disappear as your perspective changes and the sun moves along its path – never to be caught.

The idea was to capture this phenomenon of colour and the emotional uplift it provides within this secluded forecourt and to preserve the effect for an extended period throughout the evening, well past sunset.

The projected image creates an abstract perception of the courtyard space for the viewers standing within it by replicating shadow outlines of surrounding architecture and planting. These silhouettes seamlessly frame the mesmerising and uplifting warm gradient glow of the sun setting.”

I see a secondary vantage point for passers-by on the trains above who may only catch a short glimpse of the projection, making it even more mystical and perhaps something to look out for again next time around. “ Ingo Kalecinski, Associate, dpa lighting consultants.

Ingo’s sunset GOBO projection can currently be seen on a Monday, Wednesday, Friday and Sunday between sunset and 21.00 hrs at 33-34 Dolben St, London SE1 0UQ.

dpa were invited to create a light art installation in collaboration with Tryka to be displayed during the [d]arc Night event on 31st March 2022 celebrating the darc Awards 2021.

The brief for the Darc Awards 2021 Darc Night was to create a light art installation inspired by a song related to lighting. dpa chose the song “Supermassive Black Hole” by Muse.  A relatively simple shape was created by stretching flexible RGBW LED tape along a metal radial structure mimicking the gravitational field of a black hole. Careful and creative programming allowed us to generate movement and dynamism to express the vortex movement of the stars precipitating towards black holes in a spiralling movement.

Photography by Tommaso Gimigliano, Associate – dpa lighting consultants

dpa are immensely proud and thrilled to be associated with the Louvre as their local design lighting specialist tasked with assisting the museum when new and existing exhibitions are changed or rotated to ensure the strict criteria for lighting to the artworks, many of which are priceless, are maintained and preserved for future enjoyment. Having opened in 2007, the Louvre Abu Dhabi is firmly recognised as one of the region’s most respected art museums and continually delights visitors with its collection of permanent and temporary exhibitions.

Client: Department of Culture and Tourism, Abu Dhabi
Architect: John Nouvel
Photography: Louvre Abu Dhabi

dpa’s London Studio designed an art installation for the darc Awards held on 5th December 2019 titled “Together”, the following provides a brief explanation about the inspiration behind this artwork.

The word present has three main definitions: a temporal value, (present time); a physical value, (to be present); and a material value, (to receive a present). Etymologically, the word derives from Latin (prae + sum), meaning to be in front of something or put something in front of someone, and is the root of the meaning around Presence.

When interpreting and correlating these definitions whilst trying to translate them into something concrete, the meaning and values of Christmas became the main inspiration for the installation.

Considering Christmas as the traditional core of western society’s values whilst looking beyond the modern, commercial aspects of the period that are strongly associated with physical presents, there is a deeper range of ideals. These ideals have their roots in the soil of communities, family and friends gathering together, spending time with loved ones and enjoying the simpler pleasures of life. Beyond the religious aspects of Christmas, ethical and moral values are universally agreed.

As mentioned above, the present has a temporal value; the present time, the present instant. Time is impalpable and once we think about it, it becomes the past already. When we ‘see’ something, the light reflected by our surroundings travels to our eyes and is transformed and translated into electrical signals and redirected to our brain. This is a very quick process, but it still needs an infinitesimal time to happen. Therefore, we always experience in a certain way only the past and never the present.

The last definition of present we explored is its original etymological meaning: to be present and to be in front of something. In this specific case, we are referring to our own presence inside or in front of the installation. The interaction between our physical presence and the light will create the most evanescent and fugitive of the lighting phenomenon: shadows.

Our primary exercise of building the leitmotif of the installation, whilst considering all of the above elements, starts from the most important aspect we want to enhance in this concept: gathering together. For us, the real present at Christmas is to have the opportunity to spend precious time with our loved ones and to be present with them. It is not a physical present, rather than a physical presence: sharing time. This component of the installation is expressed via a series of figures: such as silhouettes of people, being present.

Connecting these pieces, we merged human figures using the dynamic effect of guest’s shadows to create a memorable, physical experience. The aim was to create a relationship between the presence of the observer, the vanishing shadows of moving and stationary figures.

All of these considerations inspired the physical construction of the installation: a series of layers of semi-transparent panels on which casting both the shadows of the guests observing and interacting with the installation and the shadows of some static figures populating the space.

To represent the above we positioned a series of transparent screens/curtain elements. We were keen for this not to represent an obvious box-shape commonly associated with a Christmas gift, but rather capture it in state of ‘unwrapping’ itself.  The multiple staggered layers pick up and fragment the shadow patterns created internally and interlace them with the shows cast by the guests as they explore the installation from its surround and within.

We cannot change the past; neither can we fully control the future. However, “present” is the gift that allows us to take the chance of fulfilling our dream. This installation invited the audience to engage in our installation, at this moment (present), with friends, to create their own playful, unforgettable memory.

Photography by Tommaso Gimigliano, Associate – dpa lighting consultants

The concept for INFINITREE was conceived with the unanimous desire of the dpa design team to create a sculpture that for one ‘was not obvious’, but was also much larger than its own physical confinement and the space it is exhibited within.

At first glance it presents itself as a subtle yet high-impact but non-described composition of glowing elements. No association to a Christmas tree would naturally be made whilst exploring the structure from the surround.

Visitors are encouraged to step inside the installation, immerse themselves within its intricacy and discover its true meaning. Structurally it consists of steel frame open for views and access from all four sides, enclosed only from the top. Ceiling and floor panels are mirror clad with minimal slot cut outs to conceal the lighting equipment best possible. The double mirror array provides the desired infinity effect, reflecting the illuminated elements in between and through natural perspective shaping them into an abstract Christmas tree like cone.

Although a DMX lighting control system with full spectrum RGBW capability was utilised, as the physical aspect of the design evolved, it became more and more apparent that a small core selection of solid colours would provide the most striking visual impact and experience for the audience.

Photography: Tommaso Gimigliano

The Wellesley Hotel in London is a special property located in Knightsbridge offering the highest quality service and facilities. The recent addition of glass pavilions at the front of the property to provide additional bar and smoking terrace space is now complete, but to make this even more exclusive, the artist Lee Simmons was commissioned to produce an installation that provided unique decoration and a visual screen. The solution was a series of cast bronze buds that produce a three dimensional textured screen wall. The lighting solution to the exterior component is a series of small LED uplights, the positioning of which was very carefully considered to expose the three dimensional nature and texture of the buds. Inside the pavilion a low level linear concealed skirting light floats the wall, coupled with uplighting to the buds as on the outside. A gas fire, wall light and lighting to the artwork completes the spaces.

Operator: The Wellesley Hotel, London
Concept Architect: Ken Shuttleworth, Make Architects
Project Architect: Gibberd Ltd
Artist: Lee Simmons

The Fairmont St Andrews has recently been renovated with a fresh and stylish new interior design by RPW Design. Within the 50M atrium, the key feature is the Zephyr Chandelier by George Singer (meaning soft gentle breeze) which fills the space with soft kinetics and shadows created by layers of lighting from both above and below. Colour has been utilised for parties and events as the Atrium doubles as a huge event space when not used as a Restaurant and Lounge.

Client:  Kennedy Wilson
Operator: Fairmont Hotels & Resorts
Interior Designer: RPW Design, London
Project Manager: Fitzsimons, Glasgow
Architect: Hurd Rolland, Burntisland
Electrical Consultant: BGL Contracts, Glasgow
Atrium Chandelier: designed by George Singer, London
Photography: Sim Canetty-Clarke

For the third year running dpa were invited to participate in designing an installation for the darc Awards, held on 14th September 2017.  This year proved particularly successful as dpa designers Ingo Kalecinski, Veronica Lykou and Laura Voss from our London studio, won the first prize on the evening for their installation Helios, which means sun in Greek.

A total of 12 teams of lighting designers, each partnered with a lighting manufacturer, were tasked to create their vision of an exciting, immersive light art installation to be showcased on the night of the awards with each guest being given one vote to cast for their favourite installation. This year dpa were partnered with LED Linear with local support by Architainment, UK.

As part of their brief, each team was provided with a modular kit to construct their own geodesic dome framework, which had to form an integral part of the final design and was restricted in size to create a level playing field for all participating teams.

From early on in their design process, the dpa team agreed to focus their thoughts around LED Linear’s product range of flexible homogeneous lines of light and the designers were also keen to flip their dome on its side, eventually providing the full circular elevation required for their final design. Although very much inspired by the clean lines and mesmerising characteristics of traditional neon lights, the designers also welcomed the added benefit of full colour control the LED fixtures provided and used it to its fullest extent.

Helios is a stylised sequenced representation of the sun, emerging out of a total eclipse into its full bloom before slowly starting its descent into the shimmering evening sea and finally disappears into the night. Clean graphic lines of light formed into the internal volume of the geodesic dome provide the viewer with an ever changing range of perspectives and only when viewed straight on, will form a complete circular sun. Although intentionally kept very simple, graphically, individual colours of light for each scene were meticulously identified for being as true to nature as possible.

The introduction scene was always considered very important and was intended to provide a contrast to the slow fading scenes that would follow, and draw the viewers’ attention immediately. Once more inspired by conventional light sources such as neon or fluorescent lamps, which often flicker when faulty or whilst warming up, the opening scene utilises cool white light only.

Photography: Courtesy of Tommaso Gimigliano – dpa

dpa were invited to take part in an event on 29th September 2017 showcasing the talents of the Society of Light and Lighting (SLL) (and CIBSE) and in particular the local members, the wider community and research expertise within Oxford. This event was part of another Night of Heritage Light & Pockets of Light (NoHL & PoL) organised by the SLL and CIBSE. It was also in collaboration with the Curiosity Carnival as part of the European Researchers’ Night across 25 Countries celebrating research and science.

Lighting is an art form as well as a science and as lighting designers we are challenged with new technologies, which ultimately provide an improvement to our ability to design creative schemes. Science and technology play a huge role in lighting development and provide us with more incredible tools in which to design, sculpt and paint our environments with light. Our Oxfordshire studio was delighted to be given the iconic Radcliffe Camera to light as part of the NoHL & PoL, along with other local lighting design practices and artists working on several other notable and significant buildings.

For ‘The Camera’, as it is fondly known in Oxford, our story starts with the beautiful neo-classical architecture and our desire to expose this at night, as it has never been artificially lit as an architectural treatment since it was built in the early 1700’s.

Our design approach therefore started with darkness. We looked at key architectural features and how ‘layers of light’ could best represent the building at night. We only lit half of the building to express the significance of how lighting intervention could expose the beautiful and intricate details, materials and marks of its history. Coincidentally a ½ moon fell on the night so that influenced our thoughts too during the design process. We also controlled the ‘layers of light’ with the use of a lighting control system which we sequenced every ½ hour running through the various ‘layers’ from a dark building to a fully lit one, from the ground up and back. Again, this little nod to the power of light was intentional as part of the overall night to showcase the importance of light, science, and art or however individuals interpret our medium.

We were fortunate to attract the artist Emma Safe who drew ‘The Camera’ over the 3-hour period of the event. The stunning charcoal drawing can be seen here along with the photographs of the lit Radcliffe Camera.

We would like to thank the University of Oxford for their kind permission and assistance to allow us to light this magnificent building as well as the assistance from Monard Electrical who were responsible for the sensitive installation of the lighting equipment. We were also grateful to a number of manufacturers who supported the project with lighting equipment.

Photography: Courtesy of Sotirios Stamatopoulos – dpa lighting consultants and Matthew Hicks (last image of artist Emma Safe)

dpa Lighting Consultants were delighted to be involved in creating the Night of Heritage Light on 1st October, and seeing one of these World Heritage sites in a way that nobody has before. This project shows the potential of light to present the world around us in a completely new way, but it also demonstrates the versatility of light and the technology behind it.

Lighting is an art as well as a science, and it’s been really exciting and a lot of fun for us to take part in this event with the SLL. We hope it will inspire the next generation of lighters, and remind others of the huge role lighting plays in their daily lives.

Client: Blenheim Palace

On 1st October 2015 IALD members created temporary lighting displays during a 24 hour period as the sun set westward across the globe.

The results were captured via social media to display the creativity and diversity of the lighting design profession.

Akihiko Kawabata, Partner of our Japanese Studio used the flashlight function on his smartphone to create a unique lit effect and transformed his phone in to a lighting fixture. He captured his work as a photo and shared it via Twitter using the hashtag #IALDchasedark, and watched as the lighting design community brightened up the globe one time zone at a time.

In this piece Akihiko-san has created a Silhouette of a flamenco dancer who is wearing pierced flashing earring. This makes us reflect upon her life as a Flamenco dancer, and imagine the story behind it.

This work uses two smartphones to create the lighting effects for Flashlight and Silhouette.

The Guildhall art Gallery has undergone a major lighting replacement project in conjunction with a transformational rehang for the first time in 15 years. Many of the works have never been on show before. In the Victorian display alone, 70% of works represent a completely new curatorial selection; through imaginative use of space, the overall number of paintings on show has been doubled. Visitor numbers have also tripled in the weeks following the galleries reopening.

The Guildhall Art gallery designed by Richard Gilbert Scott and completed in the late 1990’s.  Designed to house the City of London’s art collection of over 4500 works dating back over 400 years. The gallery lighting was originally based around backlit tented ceilings with perimeter coves and further adjustable downlights around the perimeter of the tented ceilings. Unfortunately after a decade and half of operation there were several major issues with the lighting of the gallery. The lighting replacement project was originally conceived as a maintenance project to replace the obsolete main dimming fluorescent lighting and reduce the lamp replacement cycle.  Following European regulation changes, replacement mains dimming fluorescent ballasts were no longer available, which resulted in dark areas in the tented ceilings where the ballasts had failed and could not be replaced. Added to this there was a lamp replacements maintenance cycle of 2-3 years with an associated cost of £50,000.00 to remove and refit the tented ceilings.

The site review revealed a further issue with the lighting levels within the gallery. Our measurements showed the light levels were higher in the centre of the gallery with an average of 300 lux than on the artwork where, in places, it dropped below 70 lux rendering the artwork underlit and creating a dull, low-contrast environment within the gallery.  Part of the issue was due to the downlights being located too far from the artwork as well as the inability to adjust the lighting sufficiently to illuminate the artwork.

The dpa lighting concept for the gallery involved a complete rethink of the gallery lighting concept.  The perimeter coves were removed to reduce the visible brightness of the ceiling as these had previously been the brightest point in the gallery.  The downlights were removed and replaced by track and spot LEDs luminaires giving greater flexibility and allowing all the artworks to be correctly illuminated.  The tented ceilings were then replaced with a flat stretched fabric ceiling to give the gallery a cleaner more modern aesthetic allowing the focus to be on the artwork and reducing replacement costs.  In addition to the new lighting a DALi based dimming system was installed allowing the curators the option of controlling individual luminaires and thus the ability to create a lighting scene tailored to each individual artwork. The LED luminaires were also carefully selected for both their efficiency and long life.  The track mounted spot lights have a LM70 of 200,000 hrs and the linear LEDs behind the stretched ceilings have a LM70 of 50,000 hrs.  However to achieve the correct lighting level of 250-300 lux on the artwork and 100 lux general ambient lighting the linear LEDs are dimmed to 15% significantly under running the LEDs further extending their life.  The estimated maintenance cycle being reduce to 11 yrs and energy cost reduced by £14,000.00 annually.

For lighting designers, light as a medium is as essential as the paint to the painter or perhaps the granite to the sculptor, and just as the above we like to mix our colours and choose our chisels, metaphorically speaking. We constantly thrive to explore new developments and technologies to widen our spectrum, but in the field of architectural lighting design the canvas often dictates the choice of tools we use and how, therefore some us step further afield to explore and experiment with lighting in a purely artistic way.

Ingo kalecinski, senior designer in dpa‘s london studio, together with a collective of other designers with a passion for light set up GNI projects, a team committed to creating innovative and experimental installations with light.

As part of the UNESCO International Year of Light, GNI and nine other high profile international artists were invited by Light Collective to create a piece for ‘Lumieres: The Play of Brilliants’, which is currently being held at the Elephant Paname Gallery in Paris.

Conceived to respond to the historic surroundings, GNI created their piece ‘Implied Candelabra’, which explores and challenges the nature and conventions of the traditional chandelier. Using laser technologies and the principles of reflection and refraction to create a graphical 3-dimensional chandelier, it invites the viewer to explore its meaning through its changing perspectives.

A total of 40 red laser modules and 80 mirrors are mounted via specially designed gimbal brackets to a minimalistic space frame core structure, which measures approximately 1300mm in height and has a diameter of approximately 900mm. The entire structure is suspended from an original ceiling mounting detail as it would have been used for a chandelier in the past and hovers just above head height at approximately 2300mm.

The exhibition closes on the 31st of May and if you find yourself in Paris before then, it’s worth a visit to explore this incredible mix of works of light within the beautiful setting of the gallery Elephant Paname.

Ingo Kalecinski

Photography courtesy of Tommaso Gimigliano and Nick Bazin

For the Mike Stoane Park Event 2015, Tommaso Gimigliano and Ingo Kalecinski from our dpa London studio, continued their research and experimentations into wearable light, wellbeing and boundaries.

Following their previous creation, the NeckLED, this year the two designers focussed their attention on hands and created two self-illuminated rings that represent a metaphor for a wearable aura of light, able to instil wellbeing and define the boundaries of a personal micro-cosmos of warmth and comfort. Stylistically this exercise concentrates on enhancing the beautiful minimalism and complexity of the lenses used in the lighting industry to collimate the light beam of the LED light sources. The lenses become gigantic precious stones mounted on an essential ring-like brass structure housing the battery and the light source as well.

The creations are titled, Jas & Jo LED in honour of the two models and fellow dpa team members Jasmin and Johanna, who kindly wore them in these photographs and on the evening of the event.

dpa were recently invited to participate in designing an installation for the inaugural darc Night Awards, held on 24th September 2015.  This was a unique event held to celebrate the darc awards and to also showcase a series of light installations from collaborations between lighting designers and manufacturer partners.

“Light is our guide.  Light assists when darkness falls.  But what if light were a barrier?  An obstruction?  Enter the Light Tunnel, where you must find your own way.”

Light Tunnel creates the illusion of a seemingly impassable route by utilising a series of full height lit vertical lines placed carefully so the participant perceives a barrier that prohibits them from travelling through.  The use of mirrors to the ceiling, walls and the edges of the lit profiles provides infinite inter-reflections, extending reality and the sense of obstruction so one is left to discover the pre-defined passage. Dynamic control of the installation alters the appearance of the Light Tunnel, ensuring continuous way finding adjustment amongst the blurred visual boundaries.

The installation used homogenous illuminated double faced tunable white and RGB modules complete with mirrored side facias. Each light element was installed at floor to ceiling within a secondary tunnel structure designed to conceal the existing building fabric with mirrors continuing along the entire ceiling length.

Tommaso Gimigliano and Ingo Kalecinski recently entered a luminaire for the Mike Stoane Park Event 2014. The team received a box full of components, LED modules and various items. The challenge encouraged the participants to create some sort of lighting object.

The concept was to create a wearable aura of light, able to instil wellbeing and define the boundaries of a personal micro-cosmos of warmth and comfort. The result of their design intent was NeckLed, a battery operated LED necklace. Please find below some images of the final result kindly modelled by Johanna Medina Bello.

The lighting design for the ‘listed’ Fine Rooms in the Royal Academy of Arts, London was particularly challenging. The design had to provide discreet, flexible highlighting of artworks (which could change in size and location) and functional lighting at meeting tables. At the same time fixture scale and locations had to be selected with respect to the historic interiors and the fabric of the building. A further requirement was to ensure that the lighting could be easily adjusted to suit the different uses within the Fine Rooms – artwork exhibitions, boardroom meetings, social functions etc.

Low voltage spot lights were selected for the small scale, accurate colour rendition and ease of dimming. A custom designed track system was developed specifically to suit the project.

Client: Royal Academy of Arts

The ‘One Beam of Light’ photographic competition was held in 2012/2013. dpa decided to use this as an opportunity for a creative team to explore light in what might be considered it purest form, a single beam.

This exercise within dpa took place over many days and nights, at numerous different locations within the built environment and remote rural locations. The exercise allowed our designers to be free from any of the normal constraints that quite rightly we have to adhere to on permanent projects, thus providing immense creative opportunities.

dpa lighting design were appointed to design the lighting for the exhibition “Skin & Bones: Parallel Practices in Fashion and Architecture”, which was the first of a series of temporary exhibitions launching the new riverside Embankment Galleries at Somerset House in London.

“Skin & Bones” occupied two floors of this non-daylit gallery with a single height entrance/ introduction area below mezzanine, leading into a double height volume with glass staircase connected to the mezzanine level above. The gallery is Grade 1 listed, which greatly influenced the overall exhibition design. 

The lighting was designed in close collaboration with Eva Jiricna Architects and the curators at Somerset House to fit within the physical constraints of the gallery space and blend in with the new temporary structures of the exhibition.

In the double height space, a low voltage catenary wire system was installed to illuminate the seating area and exhibits.

Above mezzanine it was not possible to attach luminaires to the vaulted ceiling of the gallery. We therefore decided to light all of the exhibits located on the central plinth using flush adjustable low voltage uplights.

Fluorescent uplights were concealed within the top of the curved central screen, which divided the gallery into two parts, to softly illuminate the vaulted ceiling.

Client: Somerset House Trust
Architect: Eva Jiricna Architects
Exhibition fitout: DHA
Art direction: Multistorey

This was a temporary exhibition bringing together all the Queen’s hats and handbags that Her Majesty had used in public engagements since her coronation. It was the first and only time that this collection was seen together. Architect William Russell won the competition to design the exhibition and our dpa London studio worked closely to integrate lighting into the concept. Of great importance was conservation of the exhibits and so conservation levels of illumination, less than 50 lux, had to be designed in. Further to this the lighting solution incorporated fibre-optics to eliminate heat and UV from the displays. One very interesting feature was the central display in a large glass display case where a carpet of hats are displayed as if flowers in a meadow. Each hat is on its own stem stand which slowly rotates with a motor below the floor. Each hat is modelled with two small fibre-optic heads per hat with light sources again below the raised floor.

Industri[us] is a not-for-profit enterprise that provides an independent platform for upcycling businesses and start-ups.

Apart from promoting the concept of upcycling to the broader public, the project aimed to transform local derelict sites by bringing attention and social activity to such sites.

Mirroring the concept of upcycling and in the spirit of Industri[us], the lighting equipment was selected on the basis of energy efficiency and flexibility, especially since the pavilion is designed to be “packable” and easy to transport.

The interplay between the translucent cladding and the animated colour changing lighting transforms the structure at night, providing a playful and fascinating background for the upcycling workshops and events.

Never static, the lighting scheme transformed the site into a local reference point, totally altering the character of the pavilion and providing an alternate backdrop for activities.

The Towner Gallery is a new contemporary art gallery designed by Rick Mather Architects. The gallery is located next to the Grade 2 listed Congress Theatre in Eastbourne and forms part of the Devonshire Park cultural area within the town.

dpa lighting design were appointed to design the lighting for the public areas, including gallery spaces, conference spaces and community rooms.

The lighting solution proposed for the gallery spaces comprises a ceiling mounted translucent stretch ceiling system located between the structural beams. The stretched ceiling membrane conceals an array of high frequency dimmable fluorescent luminaires which provide diffuse ambient illumination to the gallery spaces. This is supplemented by three circuit lighting tracks with adjustable variable beam low voltage tungsten halogen spotlights which provide additional accent lighting to the paintings and exhibits on display.

Extensive investigations were made into the light transmittance properties of the translucent stretch ceiling.

Light sources within the gallery spaces were chosen for their excellent colour rendering properties and where required, the lamps have been fitted with ultraviolet reduction filters to minimise damage to light sensitive exhibits.

The lighting system is fully flexible allowing the range of ambient illumination levels within the gallery spaces to be varied between approximately 50 to 1000 lux to cater for temporary exhibitions as well as the permanent collection. The gallery spaces can be sub-divided into logical zones, each of which has a minimum of four separately addressable lighting circuits linked to a micro-processor based scene-setting control system.

Client: Eastbourne Borough Council
Project Manager: Cragg Project Management
Architect and Interior Designer: Rick Mather Architects
M&E Consultant: Mott Macdonald
Quantity Surveyor: Gardiner & Theobold

Photography courtesy of Daniel Clements and Richard Chivers.

The lighting of any artwork is always an enjoyable experience and this particular sculpture was great fun to illuminate. The idea of providing completely different lit effects at the touch of a button was formulated early in the design process and a series of techniques were established.

The sculpture is backlit from a floor-mounted fixture providing a silhouetted form, front lit from a narrow beam recessed downlight in the ceiling and further revealed with candles around its base. In addition on party nights an oil wheel projector replaces the normal backlighting to create a coloured dynamic. Each component can be used individually or in combination, that together with the dimming provide an infinite number of potential lighting scenarios.

Images courtesy of Alex Tryslski

This art installation was created to celebrate the establishment of the New Zealand consulate, Twin Tower Building in Osaka.

The artwork designed by Neil Dawson, consists of wire netting to resemble clouds, and is suspended between two tall buildings. Its construction means that it is virtually invisible in the daytime, because the wire netting disappears into the background of sky and cloud. At nighttime, however, the artwork, which measures 5 x 8 metres, appears unexpectedly suspended between the two tower blocks. It is lit by five narrow beam blue luminaires, carefully aimed at the work. The image provides the onlooker with a patch of daylight blue sky during the nighttime.

The Dairy Art Centre is so called because it is in fact the conversion of a very old dairy in the heart of Bloomsbury in London which has lain empty for a number of years despite its prime site. Planning has been approved to turn the site into apartments but until then it has become a contemporary art gallery open to the public with free access. It is also available for special events and private functions. Due to its temporary nature there was minimum intervention to the architecture but sufficient to be able to present well artworks of all sizes and forms including an external courtyard for culture. There are a number of internal rooms which can have either daylight contribution or no daylight.

The lighting solutions were deliberately ‘economic’ utilising fluorescent battens to provide general white light with high colour rendering light sources. Additional battens mounted to the tops of roof trusses provide uplight to the open pitched roof ceilings. The external courtyard has a series of external spotlights mounted to the building. Through a simple switching arrangement different levels of illuminance can be achieved depending on the art and artist’s requirements.

Client: Frank Cohen / Nicolai Frahm
Project Manager: W.P.G
Architect: Studio Jenny Jones
Structural Engineering: Holt + Wotton
Conservation Engineering: Hayes and Adcock
Branding: North