Part One
1 Introduction 1
2 Analysis 3
Seeing–perception – Daylight – Sources other than daylight
(artificial light) – Hardware – Building structure – Installation
and maintenance – Building services
3 Seeing/perception 9
Vision and perception – Visual acuity – Glare – Emotion and
Intellect – Clarity of Structure – Contact with the world outside
– Natural colour – Variety – Age and health
4 Daylight 20
The importance of windows – A brief history of the
development of daylight design – The unique qualities of
daylight – Change and variety – Modelling and orientation –
Sunlight effect – Colour – View – Energy – Thermal comfort –
Glare – Noise – Structure – Window types – Vertical –
Horizontal – The Window Wall – Overhead windows –
Concealed windows – Glass – Design – Strategy
5 Light sources other than daylight 48
History – Lamp types – Incandescent – Discharge lamps –
Quality – General diffusing light – Downlight – Uplight –
Wall washing – Spotlights – Concealed lighting – Local light/
task light – Comfort
6 Hardware 69
Lighting methods – Direct-mounted fittings – Suspended
fittings – Track-mounted – Concealed lighting/remote source
– Portable fittings – Control – Control gear – Control systems7 Building structure 78
Strategy – Structure and light – Expressed structure – Concealed
structure – The structure as light fitting – Co-ordination of
structure with lighting elements – Structural integrity and
clarity – Night appearance
8 Installation and maintenance 87
Energy – Building function – Relationship between artificial light
and daylight – Control of light – Colour – Installation –
Maintenance safety
9 Building services 96
Introduction – Heating and ventilation/movement – Acoustic
control – Fire control – Partitioning – Loudspeakers – Electrical
distribution – Dimensional co-ordination
Part Two
Introduction to Case studies 103
Section 1 Residential 104
CS1 House in Chelsea 104
CS2 Kosino House, Ashiya City, Japan 106
CS3 House in Islington, London 108
CS4 High Cross House, Dartington 110
Section 2 Ecclesiastical 112
CS5 Clifton Roman Catholic Cathedral, Bristol 112
CS6 Church of Light, Osaka 114
CS7 Extension to village church, Aldbury 116
CS8 Bagsvaerd Church, Denmark 118
CS9 Fitzwilliam College Chapel, Cambridge 120
Section 3 Offices 122
CS10 BA offices, Waterside, Heathrow 122
CS11 Solar office, Doxford International Business Park 124
CS12 BRE environmental building, Garston 126
CS13 Powergen, Coventry 128
CS14 Century Tower, Tokyo 130
CS15 Number One Regent’s Place, London 132
Section 4 Industrial 134
CS16 Dr Martens footwear factory, Wollaston 134
CS17 Waste Disposal Plant, Tyseley 136
CS18 York Shipley factory, Basildon 138
CS19 Brynmawr rubber factory, South Wales 140
CS20 Boots factory, Nottingham 142
Section 5 Transport 144
CS21 Hong Kong International Airport 144
CS22 Southampton International Airport, Eastleigh 146
CS23 Waterloo International Terminal, London 148
Section 6 Leisure 150
CS24 Sports hall, Bridgemary Community School, Hampshire 150
CS25 Light Sculpture, Ilfracombe Pavilion 152
vi Contents
CS26 Bar 38, Manchester 154
CS27 Inland Revenue, Nottingham 156
CS28 Opera house, Helsinki 158
CS29 Copley Restaurant, Halifax Building Society HQ 160
CS30 Bisham Abbey Sports Centre, Marlow 162
CS31 Swimming pool, Haileybury School, Hertfordshire 164
CS32 Hilton Hotel, Heathrow 166
Section 7 Education 168
CS33 State and University Library, Göttingen 168
CS34 Eton College Drawing School 170
CS35 Cranfield University Library 172
CS36 Aldrich Library, University of Brighton 174
CS37 Lycée Albert Camus, Fréjus, Côte d’Azur 176
CS38 British Library Reading Room, London 178
CS39 Cable and Wireless College, Coventry 180
CS40 Student Union Building, University of Durham 182
Section 8 Health 184
CS41 Wansbeck Hospital, Northumberland 184
CS42 St Mary’s Hospital, Isle of Wight 186
CS43 Finsbury Health Centre, London 188
Section 9 Shops/display 190
CS44 Treasures of Saint Cuthbert, Durham Cathedral 190
CS45 Harlequin Shopping Centre, Watford 192
CS46 Erco showroom, London 194
CS47 John Lewis store, Kingston-upon-Thames 196
Section 10 Art galleries 198
CS48 Daylight Museum, Japan 198
CS49 The Burrell Collection, Glasgow 200
CS50 Carré D’Art, Nimes 202
CS51 National Gallery, London 204
CS52 Tate Gallery, St Ives, Cornwall 206
CS53 The Grand Louvre, Paris 208
CS54 Kettles Yard, Cambridge 210
CS55 Christ Church Picture Gallery, Oxford 212
CS56 Calouste Gulbenkian Museum, Lisbon 214
Section 11 Institutions/public buildings 216
CS57 Bexhill Pavilion, Sussex 216
CS58 Ismaili Centre, Kensington, London 218
CS59 Royal College of Physicians, London 220
Glossary
222
Bibliography
229
Index of Architects and Interior Designers
231
Index of Lighting Designers
232
Index of Subjects
233
Contents vii
Lighting has been one of the main modes of expression of the architect
over the centuries. The character of interior spaces can be enhanced by
controlling the admission of daylight by means of the form of a building
and the size, position and aspect of openings in its fabric. The range of
expression is great, from the evocative lighting of the Gothic cathedral
and the drama of the Baroque church to the simple quietude of a domes-
tic interior. The lit effect, the interplay of light and shadow, is a response
to functional and emotional needs derived from a unified design
approach.
In previous centuries lighting after dark was provided by incandescent
sources, torches, candles, oil lamps and latterly by gas. By today’s
standards opportunities for expression were limited. The advances that
have occurred in lighting technology during the last hundred years have
had a great influence on the way we live. Electric light is readily avail-
able at the touch of a switch; it can be varied in intensity and, with the
right equipment, it can be redirected, refocused and its colour changed,
or it can be piped remotely from its source and redistributed whilst its
duration can be controlled. The efficiency of lamps has shown constant
improvement and the range of types has been developed to satisfy
growing and changing needs. As this book shows, the palette for design-
ing with light is extensive.
Mounting concern with global warming and pollution have placed
emphasis upon energy conservation and have brought about a serious
reconsideration of the relationship between daylight and electric light.
Lighting design has been confirmed as an essential part of the overall
process of building design. The architect today needs an understanding
not only of lighting as an art form, but also of its environmental implica-
tions, its technology and its hardware.
This book responds to these needs. It should appeal not only to profes-
sional designers but to all those with inquiring minds and to those who
are sensitive to their visual surroundings. Key issues which influence the
development of interior building design are examined and the author
explains a lighting design strategy based both on the physical aspects of
seeing and on perception, the interpretation by the mind and the
emotional response. He discusses the relationship between natural and
artificial lighting and their integration with the building fabric, structure
and other services. The all-important interactive nature of the design
process is emphasized.
As an architect/lighting designer and the creator of many notable
schemes, both in this country and overseas, the author has drawn upon
Foreword
his experience in selecting, illustrating and describing significant
examples of work by many designers for critical study. These are
presented not as copy-book exercises, but to stimulate discussion in each
case about the approach, principles and practicalities which fashioned the
final result.
Words and pictures together make this a fascinating and informative
book for all with an interest in creative design; it is a worthy successor to
the author’s Lighting in Architectural Design which assessed the state of the
art some thirty-five years ago. As will be seen, much has happened since
then.
James Bell
Emeritus Professor of Architecture
The University of Manchester
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