The Kelpies are the star attraction at the new Helix Park development in Falkirk. The two 300 tonne equine sculptures stand close on 100 feet high, dominating the skyline for miles around. Lightfolio was tasked with illuminating both the setting and the sculptures themselves in order that the public space can be enjoyed after dark by the staggering number of visitors and local people alike who now inhabit the space on a daily basis.
The lighting for the Kelpies both inside and out is based upon the outcome of lighting trials that took place some 7 years before on a set of models that stood just 3 metres high. The artist, Andy Scott, had a clear vision of how the horses should look and feel when lit and it was our job to translate that vision into a workable reality.
In order to do this we employed both wireless LED colour change lighting for the internal spaces and more traditional metal halide floodlights in specially designed 'light pits' for the exterior modelling.
The kinetic nature of the internal lighting breathes life into these massive creatures after dark, creating the impression that they are alive, gatekeepers of the canal lock that they flank, majestic and resplendent, welcoming visitors to the Helix.
The Hub area surrounding the Kelpies is lit with a combination of bollards and LED colour change floods on columns that respond to the changes in the internal lighting of the Kelpie's themselves.
These monumental masts, ranging in height from 12 - 16 metres were conceived in response to a project brief from the landscape architects for Helix asking for "Feature light columns".
We developed the entire structures from a series of concept sketches all the way through technical, structural and lighting design to the construction and delivery phase. The resultant masts which carry a variety of flood luminaires and decorative lighting effects are designed to complement and enhance the versatile events space and lagoon at Helix Park. These spaces can be used for regattas, sports events, parties, concerts and gatherings of any type so the lighting has to respond accordingly.
The masts are all linked to specialised lighting controls that allow the client to call up around 40 different effects and lighting scenes to complement event themes and also allows for a trained operator to take control of the masts and create scenes in real time to suit concerts etc.
The masts themselves were fabricated by Norbuild Ltd and the structural engineering was carried out by Harley Haddow Partnership and Norbuild.
Our work in Sunderland on St Thomas Street was as part of a collective where the overall concept involved embedding art within the public realm rather than bolting it on at the end as is so often the case.
This seamless integration began with a radical underpinning strategic vision developed by Robert Slinger of KAPOK in Berlin, which is based upon the principle of meridian lines and pressure points, representing the key pedestrian routes and gathering points within the city centre.
In order to “cleanse” the meridians and allow energy to flow properly, all but the essential street furniture and signage was stripped out to allow a new fresh clean uncluttered street scene to emerge, punctuated with very visible node points where people naturally gathered.
These node points were defined through the introduction of bespoke light fittings with curious reflectors that threw slivers of light during the day onto the darker side of the street and colour changing patterns to the surrounding pavements at night. Bespoke furniture was also created, as was video projection which interacted with presence and at specific timings.
Another radical inclusion within the public realm was a 'soundscape', devised by renowned artist Bill Fontana, which gave a sense of the coastal situation that Sunderland enjoys (not something that many people know or appreciate).
The nodes or pressure points themselves afford the opportunity for performance and other activities to take place at different times, a high wall can be a pulpit, a seating arrangement can accommodate a string quartet etc.
The scheme was far more than the sum of its parts because of the
collective input which was carefully orchestrated around the underpinning
vision. This scheme is as unique today as it was the day it was conceived.
We were responsible for developing the lighting design aspects including the street lighting, colour change lighting and illumination to the furniture, working closely with the lead consultant KAPOK on the development of the bespoke lighting columns and integration of DMX controls technology to allow all of this to work together seamlessly.
The upgrading works to the public realm and lighting the length of Merry Street have transformed the appearance dramatically, both day and night, leading to increased footfall and longer dwell times, which can in turn bring significant economic benefit to the businesses within the heart of this bustling town centre.
The lighting scheme developed by Lightfolio for the public realm was married up with elements of the illumination of Dalziel Parish Church (which we developed in tandem), ensuring that the Church was not isolated from the newly revamped streetscape, its place within the community reinforced visually after dark.
LED colour change lighting within the head sections of the street lights reflect the colours within the steeple and trees to the front and side of the church. White light sources with a high degree of colour rendering were chosen both for the street lighting and architectural lighting to deliver a feeling of high quality and vibrancy after dark, replacing the rather dark and dismal sodium lighting which proliferated previously.
Lightfolio created a magical winter wonderland temporary lighting scheme for the OMNiCentre in Edinburgh during 2013-14. The festive display featured a stunning dynamic light show inspired by the Aurora Borealis, with a beautiful, ever-changing colour spectrum dancing across the ceiling of the main atrium, complete with moon, stars and falling snowflakes projected onto the pavement outside.
The display ran from November 2013 - January 2014 and featured state-of-the art LED and DMX technology creating a unique, eye-catching and enchanting public face for the venue.
This pilot project led to a more detailed study of lighting options that could be implemented all year round and these are currently being considered by the management and investors of OMNi.
The sculpture Arria, stands proudly above the M80 at Cumbernauld. Conceived by Andy Scott she is named after the mother of the Roman Emperor Antonius, her name chosen by a local girl from Cumbernauld after a public competition.
The design of the sculpture is based on the original meaning of Cumbernauld, the Gaelic ‘Comar nan Allt’, which means the coming together of waters. The sculpture of a female figure, with swooping arcs which represent the waters, is 10 metres tall, the lighting of Arria is all internal, the colours carefully selected to complement her form.
Lightfolio has been working with Keppie Architects to develop the exterior lighting scheme and public realm landscaping for a new multi-million pound office development in central Glasgow. The lighting scheme particularly concentrates on a vast LED-lit glass façade, which will become a network of animated lights, creating beautiful patterns sweeping across the building. This acts as a perfect interface between public realm and private office spaces, creating a gentle undulating counterpoint to the hustle and bustle of city centre life.
The public realm concept uses copper mirror (used throughout the building exterior) to reflect interesting angles of it’s surroundings and offers passers-by an unusual set of perspectives of both themselves and of the wider environment. Paired with native Scottish planting, an energy-efficient lighting scheme and simple yet bold stone paving, this scheme encourages interaction with the public and provokes curiosity from viewers.
To date, The Glasgow City Chambers is still one of the biggest architectural lighting schemes we have been lucky enough to be involved in. The scheme was scrutinised closely by the City's planning department to ensure that fittings were hidden where possible and painted to exact stone matches where they could not be hidden. This scheme uses predominantly warm white light, in the form of CDM metal halide and fluorescent linear strips behind balustrades and was one of the first projects delivered as part of the City of Light Initiative.
The photographs here showing pink and white come from a slightly earlier commission where we were tasked with lighting the City Chambers for Christmas. This was great fun, being allowed to create a disneyesque scheme that made people smile, even if it was just temporary.
As part of a multi million pound restoration project Lightfolio were commissioned by Glasgow City Council to devise a new, non invasive lighting scheme for the Palace. Close liaison with Historic Scotland was important given the historic nature of the building.
The scheme uses a series of ground mounted light projectors that bounce light off special calloted mirrors which were clamped at high level around the main ring beam supports. This produces a natural shaft of light such as you would find in the forest and made servicing the lighting very easy. This scheme also dramatically reduced the amount of cabling required for the project. Despite the futuristic appearance of the mirrors, the old and the new blend seamlessly together.
The Mitchell Library sits adjacent to the M8 motorway a short distance from Charing Cross and was relit as part of the 'City of Light' strategy as the existing scheme was nearing it's end of life and did little to model the fantastic relief to be found within the architecture. The first picture on the right shows the original lighting scheme which is a product of it's day being restricted to floodlighting rather than architectural illumination which this building was crying out for.
Lightfolio were engaged to devise this new scheme including testing and working closely with the City's planning department to realise this bold undertaking.
The results speak for themselves. The building is fully ,modelled in warm and cool white tones with both front and backlighting of the architecture being employed to delineate and define the form. This reveals the full character and majesty of the building and dramatically enhances it's place after dark within the cityscape.
Grateful thanks goes to Photographer Jim Moore for his amazing front facade shot taken upon completion of the scheme, to this day it is still the best we have seen, well done Jim!
The illumination of the Maxim business park is the result of a six month study of other parks around the UK both good and bad. These latest generation of business parks include not just offices but creche's, restaurants, and leisure facilities.
Subsequently the parks are in use for extended periods and there is a need to provide a high quality offer to the parks residents of they are to linger out with working hours.
The lighting scheme at Maxim seeks to accentuate the bold architectural forms and soft planting whilst providing necessary illumination for safety and legibility.
The wide range of outdoor spaces have been given different ambiences according to task and which complement each other. The overall look and feel defines this park as a high quality, relaxed and welcoming place to be.
The remodelled public space at Cathcart Street in Greenock is the centre piece of the recent regeneration work by Riverside Inverclyde. This space has been dramatically improved and now includes seating and artworks and an extensive lighting scheme which sees fibre optic pinpoints of light embedded within paving, white light street lighting, LED colour change within glass panels and the under lighting of tree canopies and seating units.
As the tallest structure and most visible structure within the centre of Clydebank, the tower at Abbotsford Church, a modernist interpretation of a steeple, presented some challenge in developing an appropriate scheme.
After many months of deliberation, the concept sketch you see on the right was produced and was accepted by Clydebank Rebuilt and the Church community themselves. It forms the basis of the installed proposal and after testing both LED lightbars and LED neon, the system was installed.
Clever electrical engineering by local contractor ETI (Scotland) Ltd, meant that the maintenance was reduced to the bear minimum by having any components prone to failure over time housed in a discrete pillar adjacent to the structure.
The lighting can be altered through preprogrammed sequences that can be changed at the touch of a button.
The Argyll Road underpass in Clydebank made for an excellent opportunity to both educate local school children in the difference that lighting can make to our environment and to deliver a lighting scheme for this rather forlorn public space.
After teaching them about what was possible with lighting the kids worked up their colourful ideas which were then translated into a workable scheme.
The lighting scheme addresses subjects such as security through the use of safety mirrors that affords a view of the entire underpass and around the corners at the end, the decorative layout takes away the sense that these are there purely as a safety measure.
In addition the colour change lighting, housed in a bespoke trunking, also incorporates motion detection, so as you approach the underpass, the lights change sequentially to white ahead of you, or if they change to white from the opposite direction then you can tell that someone is approaching from the other side.
As another layer of interactivity, sound receptors were built in to the old light housings that mean if you clap your hands or shout out on the way through, the lights change colour. When nobody is present the underpass defaults to a preset sequence designed to minimise energy use. The same approach was also taken to a similar underpass at the far end of the city centre canal route at Kilbowie Road.
The children also designed artwork for solar light tiles that were set into the towpath as a permanent record of their involvement in the project. They loved the whole process and so did we.
Ayr Renaissance was set up to breathe new life into the town centre through the delivery of a range of initiatives and projects. Realising the importance of lighting within the evening scene of the town the board engaged Lightfolio to carry out an assessment of the current lighting within the town and to deliver a cohesive strategy for lighting that included a seres of pilot projects designed to whet the appetite.
Through this initiative, two projects were selected, the Town Hall as the primary civic venue within the town centre and Newmarket Street, one of Ayr's most prestigious streets which has seen a decline in visitors and shoppers alike in recent years.
Lightfolio devised schemes for both, concentrating on the grandness of the architecture of the Town Hall and in sharp contrast the intimate and exclusive nature of the retail offer within Newmarket street.
Both schemes have been very well received and Newmarket Street has recovered some of it's appeal again which is wonderful for the residents, visitors and retailers of Ayr.
Working with artist Del Whitticase and specialist fabricators Scott Associates in Glasgow, we were sasked to illuminate Del's unique sculpture 'Bubblefield’, which is based upon the lights from oil rigs captured in photographs at night. The piece contained seven light boxes mounted on columns up to four metres high. The piece is sited in Invergordon adjacent to the Cromarty Firth.
The Clydebank Entries project was designed to act as a signal of change within the town centre. The theme of alternating red and green colours references the town's proud nautical heritage. This simple lighting intervention had a bold impact that also complimented the new street signage.
'The Corinthian' was the first of many permanent facade lighting projects by Lightfolio and as such is a special project for us.
This Elegant facade is picked out by over 130 miniature sources revealing the features and symmetry of the building. The warm gentle light subtly accentuates the building form and reveals the rich architectural detailing and contrasting materials.
The interior of the building is a recreation in part of an original scheme when this magnificently detailed room was used as a banking hall. We were responsible for the lighting which revealed the rich detailing around the room and the subtle incorporation of the emergency lighting within the chandeliers and pendants.
Princes Square was one of the first ever major lighting design projects in the UK. It was conceived by Andre Tammes of Lighting Design Partnership and was a masterpiece of design and theatre, drawing on all the available techniques and equipment of the day.
Lightfolio was engaged by the managing agents to refurbish and augment the lighting after many years of giving sterling service and the brief was to retain the character and essence of the original scheme using updated technologies and equipment to help with running costs and maintenance.
The finished scheme as you see here is as faithful to the original concept as possible and the client was delighted with the results.
The main entrance to this Landmark Building required a revitalised lighting scheme which increased it’s street presence.
The lanterns seen in these pictures were completely remodelled facilitating easier and less frequent maintenance.
Concealed floodlights with colour filters were added giving the impression that the lanterns alone are creating the eye-catching wash of intense, fire orange light.
This busy underpass linking a large car park with the local ASDA supermarket was a key focus for Clydebank Rebuilt as part of the regeneration works they master-planned throughout the town centre. The design had to be robust and deliver both statutory and decorative lighting at the same time. A bespoke aluminium housing was created which carries concealed fluorescent strips to the rear to give a floating backlight effect which acts as the statutory lighting for safety.
Embedded in the underside are around 100 different sparkle LED's and colour change down-lights that react to movement within the underpass creating pools of coloured light along the centre line as people walk through.
This simple but effective scheme has helped to brighten up an otherwise drab underpass that was more about function than fun, not now!
Cardinal Newman High School is to say the least a bold bit of architecture. Visible from the motorway that runs around the outside of Bellshill, it was chosen as an exemplar project by North Lanarkshire Council as part of the development of their lighting strategy for the seven towns of the largest unitary authority area in Scotland.
The scheme uses LED lightbars with wallwash optics to illuminate 140 individual windows which were treated with a special film to allow them to light up as well as distinctive rooftop structures.
The scheme was developed to be addressable through SMS messaging and RSS feed opening up possibilities for community engagement and influence over this unique scheme.
Centenary Viaduct was a great project to be involved in although it nearly never happened as securing funding for this ambitious scheme was quite a challenge. In the end it received funding from STV through the 'People's Millions’ initiative, winning a substantial amount of the vote that week.
The scheme uses gobo projectors, mounted in specially commissioned enclosures to shine artwork in light, created by local schools light onto the bridge surfaces. Given that this is a busy junction with the East Coast main line atop the viaduct it was important that no light escaped the bridge surfaces. Using specialist targeting devices the shaped projection slides complete with artwork were made and this concept came to life to great plaudits from the local and national press, especially after the theme was changed to the poppy as an act of remembrance that year.
These tower blocks were the first to be illuminated on Glasgow's skyline as part of the 'City of Light' Strategy which has seen over 100 city buildings illuminated to date defining the skyline and streets after dark.
The lighting technology employed was a revolutionary light tape technology which emitted light at a very specific range of the visible spectrum meaning that it was visible over large distances and was a familiar landmark for many years.
The unique approach was about creating a lighting signature which was instantly recognisable whilst not wasting energy illuminating the whole structure. This approach is something we have endeavoured to do in our work wherever possible.
This prestigious project was a huge challenge as the lighting requirements tabled by the Advocates were quite onerous. This meant many hours of virtual light modelling to select just the right luminaries and lamps to ensure that the lighting scheme lived up to expectations.
Fittings were chosen from manufacturers in Canada and Germany, special gold reflectors with antiglare coatings were selected to ensure no stray light caught the eye despite the gallery and double height library shelving.
The gold reflectors gave a soft light more akin to incandescent despite the fact the lamps were predominantly fluorescent.
Each work station has it’s own task lighting and dimming to ensure whatever time the Advocates are working they can create just the right lighting effect and ambience.
Working closely with TPD in Edinburgh we were engaged to design a suitable lighting scheme that complemented the interpretative panels and interior to give the impression of a cold icehouse. This was achieved through the use of very cool and contrasting warm light sources to accentuate the differences between the heat of candle light as it would have been and the chill of the ice.
"The Big Man", as he quickly became affectionately known, started life as an exercise in disguising a fairly standard 'A' frame bridge support. The bridge is designed to reconnect a severed towpath link just above Maryhill and help people avoid a dangerous road crossing on the road below the canal.
The sculpture, conceived by renowned artist Andy Scott was taken through design development but put on indefinite hold due to economic circumstances back in 2007. We hope one day that this marvellous mixture of art and engineering will be revived, perhaps 'The Kelpies' will have a positive impact upon the desire to see this project delivered by the various stakeholders. We would jump at the chance to see this one come to life.
The Playhouse sits on the edge of a world heritage site and as such any works to the building require close liaison with the city planning department to ensure appropriateness. From the outset it was our intention to reinforce the character and form of the building and where possible make reference to original features within our design.
The signage was replaced across the whole building, our initial sketch concept based upon an old photograph was turned into glorious reality by Brian Mack of SNL solutions. Brian is a genius when it comes to signage and in particular the engineering side to make sure that things last. Very important on a premier events venue in the heart of the capital.
Around the main entrance we reintroduced linear bars, apparent in our historical photograph which appear white during the day but they colour change at night in sequence with other elements across the facade to give a dynamic and themed look to the theatre matching the performances of the day.
This wind tunnel of an underpass provided perfect inspiration for Fin and Al at DUFI ART helping them develop a concept based around blowing leaves and the passage of the seasons. The leaves are Oak leaves, very much part of the Greenock or "Green Oak" story and their use of both stainless and corten steel provided an excellent reference between the town's history and renaissance in recent years.
The lighting is concealed behind the wall panels and on one side is purely white for security purposes but on the other side and on the end wall of the underpass where an interpretation of a green oak can be seen, the lights are colour changing, sequenced together and programmed to alter with the seasons.
The Glasgow Science Centre was extended to provide new cafe and as part of that work a new media wall was installed. The installation included TV screens relaying information about GSC within this glowing box of kinetic colour changing light. Special glass to the facade maximised the surface spread of colour making this a striking feature which imbues the entire plaza space outside with colour and effects.
This was created with LED lightbars, addressable in 300mm sections allowing for the most amazing array of colours and effects to be produced automatically between dusk and dawn through automated control software that included a built in solar dial timeclock and outlook style diary for storing programmes across an entire year.
Greenock's most famous son stands proudly on the corner of the James Watt College building in the centre of Greenock. This statue As part of the Riverside Inverclyde regeneration programme and was sponsored by a local company who's business had close links with the type of engineering that Watt himself did so much to develop in his lifetime. The coloured backdrop helps accentuate the setting for this wonderful statue whilst the LED spotlights pick out the incredible sculptural detail to be found within the statue.
These two imposing tower blocks owned and operated by Linthouse Housing Association are already an impressive local landmark. The proximity of the blocks to each other creates a microclimate which we drew inspiration from, creating a lighting scheme that was kinetic colour change and reflected both the movements of residents within the lifts and the weather in the form of wind and temperature with different colours signifying different states.
The lighting consists of a series of interconnected LED RGB colour change tubes which are run on unistrut trunking around the parapets of the two buildings. The unistrut was secured with weights rather than being drilled and fixed into the fabric as this may have compromised the waterproof membrane on the roof which was not allowed.
The lighting is connected to a control system that detects lift movement on each block and either wind speed or temperature. The residents were each given a special crib sheet that explained at a glance what the different colours meant.
St Andrew’s in the Square is another of Glasgow's well known landmarks which for the millennium was refurbished internally and externally extensively to breathe new life and function into the venue, ensuring it's continued use for many decades to come. We were tasked with delivering lighting schemes for both the interior and exterior over 2 phases including the newly excavated basement which is now a cafe.
The lighting for the interior was the subject of much research and liaison with project architects NGR in Edinburgh, to ensure that the lighting fitted perfectly with the restored interior. Additional concealed uplighting to the roof provided much needed additional light levels but in a controlled and discrete manner which did not detract from the beauty of this interior.
Sitting within Mandela Place, just off the City's George Square St George's Tron Church is an architectural gem and was singled out early on by the city council as a building to be illuminated as part of the City of Light strategy. The scheme itself is wholly white light but warm and cool, designed to accentuate and define the architectural form.
The tower was particularly hard to illuminate due to restricted access and the need to avoid costly crane based maintenance in what s one of Glasgow's busiest streets for both vehicles and pedestrians. To avoid this, a bracket system was developed for fittings with remote control gear that allowed for the arms of the brackets to be swung back to the main ventilation louvres for maintenance.
The louvres were also made removable at this time. This ingenious solution has saved an enormous amount over the years in potential maintenance costs and has made this very easy to look after.
This brand new multi purpose venue, opened in the heart of the Sunniside district in Sunderland, has a very unique look due mainly to the large glass art mural that runs the length of the facade on the bries du soleil. It was decided that an equally unique lighting intervention was required to complement the mural which as it turned out looked best unlit after dark as silver highlights and deep blues were picked out by passing car headlights and revealed by the lighting from within.
Instead we focussed our efforts on getting people around to the rear of the building with a aerial display of light strips that appear to float magically after dark and change colour as you walk around them. The scheme extends into the courtyard which has become a favourite venue for a relaxing drink of an evening.
Illuminated as part of the City of Light strategy this famous landmark, the last vestige of a much larger building, sits at the foot of the High Street in Glasgow. It is illuminated both internally and externally, the external lighting scarring down the four faces, draws out the texture and character embedded in the stonework, accentuating the fact that this was not just a tower in years gone by. The internal lighting is blue, in various shades rising through the building to the top crown where it is at it's most vibrant, picking out the beautiful structure and bells.
Coordinating with a major upgrade of Cumbernauld’s Central Way, Lightfolio have developed designs for an innovative lighting scheme that flows between the two bus stances either side of the dual carriage-way.
Following an intensive research period and site assessment, it was deemed imperative to inject light and colour into the otherwise dark,
depressing and cavernous space, providing interest and visual relief.
The chosen concept has roots in the town’s origins - Cumbernauld, originally Comar nan alt, means ‘the meeting of the waters’, referring to the site where tributaries of the Forth and Clyde rivers meet. One of these is called the Red Burn and thus dictated the core colour scheme of red through to blue.
The flow of light mirrors this meeting of the waters across the vast undercroft of the town centre building. The pattern also visually connects the two bus stances and alludes to the pathway between them via the shopping centre above.
Given the challenging site, a custom catenary light scheme was developed that safely suspends a network of individually addressable LEDs above the busy road below. The lights are fully colour-changeable and can animate patterns across the ceiling. It is planned that an interface will be installed, whereby members of the public can interact with the artwork and affect the colour, speed and animation.
Building on our work for the OMNi Centre's Christmas lighting display, Lightfolio was commissioned to undertake a feasibility study for a permanent lighting scheme in conjunction with signage company Studio SP.
Currently, the building has very little presence, especially after-dark, and so struggles to successfully communicate its function as a lively entertainment venue.
Lightfolio has proposed a 'shopping list' of elements that can be combined for greater or lesser impact and budgets, but that would all work seamlessly together, conveying a consistently dynamic aesthetic. The proposals include animated colour wash lighting to key interior surfaces with decorative and corporate gobo projections, enhanced entrances that draw visitors in with colour and signage, bespoke outdoor lighting with the same lighting signature as internally, colourful projections, and an outdoor seating area to encourage summertime al fresco use.
The "Grand Old Lady of Bath Street" was given a major exterior makeover to celebrate her 100th year as a top entertainment venue including new lighting, stone cleaning, the removal of old canopies and paving around the outside. The driving force behind the works was David Williams, the chief executive at the time.
Although a building of significant historical value and of listed status, it was decided that a lighting scheme that brought some of the theatrical to the outside should be devised. As you can see in the pictures, this beautiful building languished in the dark, with no presence at all but this was dramatically changed after the lighting installation.
The restrained use of select colours, principally fire orange, which complemented the red sandstone and the use of gobo projection, a technique normally reserved for inside a theatrical venue allowed us to draw out the character and purpose of the building, allowing the grand old lady to shine once again.
This former church building, which had fallen into a state of decay was rescued by Southside Housing Association and very cleverly turned into a housing development but without losing this powerful facade and crown that had been around for more than 100 years.
The lighting scheme is playful yet respectful of the architecture and serves to pick out the best features of the building ensuring that this is an identifiable landmark once again that people are glad to call home.
This project, a fusion of lighting, sculpture and landscape, combines to create a wonderful entrance to the park. There is a combination of white light to illuminate the low walls and railings, coloured recessed floods to uplight the magnificent trees and LED lights that colour change within the filigree capping balls that adorn the entrance pillars. This was a joy to work on as it really brightened up the entrance and is visible to many people passing by who get to enjoy the installation.
The gable end was the second project undertaken for Tollcross H.A. designed to enliven the area. The earlier project for Tollcross Park entrance is on the opposite corner meaning that both these projects flank the main thoroughfare through the area.
The lighting for the gable end is a mix of colour change LED wall washing and projection, in this instance the Housing Association logo but this can be changed to suit any theme quite simply. The kinetic nature of the colour change means that this installation is always different when you pass which helps retain interest and vibrancy after dark.
Lightfolio were engaged by the Church to deliver a sympathetic, discrete, highly functional, low maintenance, easy to control lighting scheme for the interior of this beautiful building. Quite a task given the significance of this church within Scottish History.
The lighting scheme utilises almost exclusively LED light sources, with very high colour rendering properties. This ensures that especially when dimmed, the quality of light is akin to incandescent light and that colours are revealed in their true form.
Many details were picked out for special treatment, bosses on the roof, statues adorning the pulpit, even the fretwork on the communion table. The whole ensemble delivers a cohesive, balanced and respectful scheme, rich in layers to amplify the end result. This technique of overlaying ambient, decorative and feature lighting produces a subtle, delicate legible scheme.
Control is a major part of this scheme with over 50 circuits of lighting,each grouped through scene control to deliver specific effects or perform a certain function. The system is designed to deliver maximum impact at any given time whilst saving as much energy as possible. So much so in fact that we have also included daylight sensors to automatically adjust lighting inside according to the level of natural light within the building. And it is all controlled from a 10 button keypad for ease of use by the church community. For more theatrical settings and concerts, the lighting can be controlled wirelessly through a tablet computer.