Lighting in Design Q1 2020

the lighting as a piece of art, to complement the space and help us to achieve our lighting goals.The product was random, suspended, linear elements, providing both uplight and downlight”. During the day the space has a large amount of natural light, at which time the light fittings are merely part of the ‘art’, but at night they light up the space holistically. “This art gallery is the more modern of the two and we felt that the lighting had to reflect this, but still be effective. A simple downlighter was introduced

in the perimeter bulkhead, to soften and frame the space,” she says. A lighting challenge for this project was the fact that the space had a 6 m high pitched ceiling. Not only were the installation and logistics a problem, but achieving the correct light levels was also chal- lenge. “We had to source fittings which offered a balance of high lumen packages, were dimmable with no glare and were also aesthetically suitable for the space, hence we opted for custom fittings”.

The Marvol Gallery – Hazendal “As opposed toThe Gallery at Val de Vie where we pretty much had a clean slate, The Marvol Gallery is a heritage site with the priority being to retain and conserve the existing architecture,” notes Dankworth. The main requirement for QDP was focal light- ing onto the exhibits, whilst honouring the heritage

of the building and acknowledging this in a subtle way. Being built in 1781, and with its primary use then as a cattle shed, the space was very dark, enclosed with minimal natural light. “Our brief was to open up the space,” she explains. The lighting design was therefore based on nondestructive methods, to preserve the integrity of the building. A simple track light systemwas adopted, with dim-

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LiD Q1 - 2020