The firm developed a set of specialist design groups, including lighting that offered leading edge knowledge. HLL was formed by the employment of trained lighting designers to find lighting design work independent of the main M and E core, but also to enable the core business to learn from the expertise of in-house lighting designers. For HLL this offers the benefit of working on a breadth of projects, from offices, to theatres to city plans - as a result HLL has so far avoided being pigeon holed!
Headed by Lighting Principal, Dominic Meyrick, Hoare Lea Lighting's approach places the end user at the heart of the design process. Dominic Meyrick explains: "We believe that ultimately Architecture is about people and that understanding how people see and respond to light therefore is key to the design of a well-lit space. Primarily lighting design is about understanding activities - office lighting should help us work, retail lighting to sell and shop, the leisure centre to relax. Lighting is a human experience and the response to the lit environment is human as well.
"Artificial lighting with electricity is just over 123 years old - so we have only just started. To look at today's lighting techniques and equipment and say 'this is it' is crazy. Just look at the majority of office interiors if we say this is the best we can do we are in big trouble."
HLL has a passionate belief that light is essential to the creation of a dynamic architectural environment. In most instances, architecture is not taken far enough in relation to lighting. The power of light, both natural and artificial, is its ability to transform space and objects over time - and this is not exploited fully. Part of the reason for this is that lighting design is still not regarded as an essential in the building process. This is mainly due to the lighting industry as a whole falling into the self made trap of regarding lighting as a commodity item - like cable tray or ceiling tiles - not as a design tool that adds value to a project, whether that value is capital cost or yield related. HLL believe that lighting design needs to engage in the building process, understanding its demands and influences, so that lighting design expertise becomes seen as a critical client appointment, that brings genuine value to a building, whether that expertise is from the independent or lighting company based designer.
The way forward for HLL then is to engage with the wider design and development community in championing good lighting and its positive benefits to human interaction. Lighting needs to move away from visual acuity issues, lighting levels or lux, and into its positive influence on space impression and use. As the workplace becomes more stressful, lighting can help to calm or to stimulate. As the Internet becomes more convenient the high street retailer will have to engage the public in new and innovative ways. As the inner cities regenerate and re-invent themselves lighting must respond to pedestrian needs and light pollution concerns rather than just pandering to the motorist.
The vision of the future must be one where lighting is seen as a positive force in a range of groundbreaking projects that bring high design principles and innovation together to show lighting to be the powerful design force it is. Hoare Lea Lighting is the first consultancy to become a CPD Network Provider for the RIBA. They practice what they preach and regularly carry out CPD seminars for architects and developers, disseminating knowledge both in-house and through CPD events. Under the umbrella title "Light as an Architectural Tool", a range of topics are covered which address cutting-edge lighting issues in areas such as office, retail, light and well-being and the nightscape.
The Staff
Simon Dove is based in Hoare Lea's Bristol office. After starting out within an M & E Consultancy, Simon moved to a luminaire manufacturer to work in the lighting design department. Here he spent many years as the in-house Lighting Design Manager, working on projects such as Quaglinos, The Bibliotheque De France and many retail outlets. After a stint in the Product Marketing Department Simon joined Hoare Lea in 2001.
Orri Petursson, Raymond Lee and Dominic Meyrick are based in Hoare Lea's London office, Glen House in Tottenham Court Road. Dominic comes from a product design background and earned his spurs, as many in the profession have, working as a lighting designer for a manufacturer. Orri has a BA degree in Lighting for Theatres and an MSc in Architectural Lighting and has considerable experience in lighting design, rigging and operating for stage productions, clubs and theme events. Raymond comes from an art and science background and has a BA in 3D design and an MSc in Light and Lighting. He has eight years experience of lighting and design, working for lighting manufacturers and lighting consultancies.
Lee Gunner is based in Hoare Lea's Leeds office and comes from an engineering background with a BEng (Hon) in Building Services Engineering. He has experience in working for a lighting manufacturer, a project manager as well as consultancy work.
Glen House, Hoare Lea's London office
Technology is changing faster than lighting recommendations and today's modern office is a dynamic and flexible environment.
Being the client and designer provided the opportunity to design for the 'now' and also the future. With known tasks, known occupants and known equipment it would seem a simple brief, but throw in Hoare Lea's commitment to energy consumption, the cutting of carbon emissions and a demanding and knowledgeable user group and the design needs to fulfil some specific requirements.
The visual environment has been the key driver whilst obviously providing enough light to comfortably complete tasks.
Recognition has been given to the importance of light pattern, with visual markers installed in the space whose primary function is to tell people 'you are entering a bright, well lit, office'.
The combination of lighting components used together creates a comfortable working environment where light pattern adds interest.
City Walk, Leeds
The first priority was to tackle the lack of daylight. It was decided to design an artificial skylight with varying colour temperature control. LED light sources were chosen due to their size, long life, low energy and immediate effect in colour variation. A combination of the primary red, green, blue colours allows for client controlled colour variation to provide an artificial daylight scenario and solid colour changes and sequences.
The design was developed by the production of a 4m x 4.5m x 0.3m light box with a stretched membrane diffuser. Continuous, bespoke indirect tri-colour LED units within the ceiling feature were linked to a controller that provides a uniformly lit surface with choice of colour and speed of change determined by the user.
Combined with this main feature, low voltage downlights, wall washing, concealed fluorescent modules, picture lights and integral desk lighting were specified. These are linked to a scene controller that enables the user to change the balance of luminances to achieve the client's brief with low capital and operational costs.
Gibo Flagship, London
Hoare Lea Lighting was commissioned by Gibo Co. to design the lighting concept and devise the luminaire schedule for Gibo's new London flagship store. Hoare Lea Lighting also gave guidance to the contractor during the installation and devised the control strategy.
The client was keen to have the clothes displayed effectively, with good colour rendering and high ambient lighting levels. To achieve this, without introducing too dominant a lighting scheme, 'lines' of light, (recessed aluminium extrusions with overlapping T5 lamps, 4000K and a satin polycarbonate diffuser), run parallel with the space. These fittings provide the main illumination and good uniformity.
For highlighting, and in response to a request from the architect, 50W low voltage downlighters are dotted around in the ceiling. These correspond with the scatter of holes on the floor. They also add warmth to the space and enhance the merchandise.
Three headed gimbal fittings line the walls. The outer lamps are metal halide and the middle is tungsten. The tungsten lamp comes on late in the afternoon when daylight levels recede. During special functions the metal halide lamps are turned off leaving the tungsten lamps to highlight artwork.
The skylight creates the impression of a larger interior by flooding the room with daylight. For added interest colour changing LED's were used to light the skylight at night, preventing it from becoming dark and oppressive. Pedestrians walking past the shop after closing hours will see this lighting effect. The LED strips can be set on any colour so that at night when you are unable to see the clothes inside effectively, you will be able to see the bright, box-shape lights shining out onto the street.
London School of Hygiene and Tropical Medicine
The main lighting consists of 6 secondary reflectors, (three on either side), mounted to the ceiling fenestration. Each reflector is lit with three 150W CMH projectors that are on two separate channels, (12 projectors on one and 6 on the other). This allows for flexibility in the lighting control, for instance by topping up daylight with the 6-lamp channel during early afternoon, with the remaining projectors coming on after dusk or to achieve different lighting levels for special functions. The 'hidden' benefit of this approach is the ease of maintenance - although the reflectors are mounted at high level the projectors can be reached from the 4th floor office plate.
The open plan office spaces are lit with 600mm x 600mm luminaires from Siteco, in a regular grid arrangement. Although the luminaires are recessed they have a drop down element for upward distribution. Because the office floors effectively have no walls, (they sit within the atrium), it was paramount that the ceiling receive as much light as possible. The drop down element within the chosen fitting serves this purpose as well as an aesthetic one.
Running through the floor plates is a riser - the only vertical element within the floor plates. To add interest these are treated with a scalloped light pattern. The teaching rooms on the lower ground floor have the same luminaires in a regular grid, but wall mounted bulkheads are added to the walls to give vertical illuminance.
Architectural elements are highlighted such as the risers by the main entrance. Surface mounted luminaires with a narrow upward light distribution and a wider downward throw, emphasise the height of the risers while 'framing' the entrance with 'pools' of light.
Link bridges connect the new office floor plates with the existing buildings. These are lit from a recess either side of each bridge with linear colour changing LED's. To add further colour to the space the ground floor meeting room has colour changing LED luminaries. These light the glazed wall providing interest for visitors coming in through the main entrance. For lighting control a 'touch' screen is used to select pre-programmed scenes or to manually adjust each channel. The colour settings on the LEDs can also be set, for example a specific colour chosen, colours mixed or sequences selected.
Manchester Terminal 1
Hoare Lea Lighting was commissioned by Pascall + Watson Architects to provide a concept and detailed lighting design for the refurbishment of the existing concourse, catering, circulation, seating and retail zones, both landside and airside, at Terminal 1, Manchester Airport.
The lighting brief was to provide a solution that would assist in way finding, area recognition and maximise retail and catering potential. The creation of a 'street scene' was central to the brief.
The light pattern, style of product and location were governed by cost restrictions, existing architecture, services and strict maintenance requirements.
The architectural concept involved removing most of the daylight and original glass feature pendants from the landside concourse. It was clear this would impact on the impression of the space in terms of luminance and contrast and that the space would appear dark and gloomy. Modelling software demonstrated that unless the 'brightness' of the space was prioritised the final appearance would be dismal.
Experience shows that spatial brightness and luminance on the room elements determines whether a space looks well lit, (not just horizontal task illuminance). With the removal of daylight this was crucial to the design solution. By combining light pattern with the blue feature wash light the space now appears well lit and far from gloomy. The new scheme achieves an average of 200-300 lux average, compared with the previous lighting levels in excess of 400 lux - yet the space appears 'brighter' than before!
North Herts College
The College is the biggest capital build for Post-16 Further Education in the UK. This pioneering, state-of-the-art centre creates an exciting environment for learners.
The bright, airy and spacious centre has been designed to promote a busy interactive atmosphere. It has been built to provide modern, flexible accommodation to the best environmental and space efficiency standards. Great care has been taken to ensure access to those with disabilities.
The lighting brief from the architect and client was for a scheme that reflected both the high tech. nature of the building and the desire of the client that the college be a centre of excellence for A level study.
Completed on a tight budget the lighting scheme is aesthetically effective. Although a value engineering exercise was carried out we were justified in keeping the expensive secondary reflectors, as they are now an integral part of the space. With the high tech appearance of the classroom fittings, the secondary reflectors and the exterior luminaries, the lighting scheme compliments the architecture and reflects the College's desire to be at the forefront of IT teaching and learning.
Apollo Victoria Theatre
Originally, the 1929 auditorium used 3500 GLS lamps using 2 colours on 2 circuits, which could be 'blended' giving the illusion of an underwater palace.
This theme was to be retained but given a modern 'makeover' whilst not disturbing the buildings Grade ll Star Status.
The key decision was the innovative use of LED's. The features of these knit perfectly with the theatre requirements of long life, high output, low running cost and colour mixing capabilities using DMX control.
Not only is maintenance and energy consumption significantly improved, but this 'pioneering' and stunning new scheme can render whatever colour is desired, at the touch of a button.
information:
www.hoarelea.com