byINTERVIEW
Jill Entwistle
40 MARK HENSMAN
Cross, Hertfordshire (FoxLinton)Projects he’s proud of
The Sage, Gateshead (Foster and Partners)I’m proud of loads of them for different reasons and Ican’t pick one
The LowryCentre, Salford (Michael Wilford and Partners)out. Something like PowerGen, one of those jobs where you had to
The Ondaatje Wing,National Portrait Gallery(Dixon Jones)have great collaborators. Together with other projects at the time,
BBC White City(Allies and Morrison)that was part of the movement towards our understanding of how we
Conde Nast, London (Future Systems)illuminate the workspace. And some of the urban regeneration work
OxoTower,London (LifschutzDavidson Sandilands)we’ve done where we’ve taken aspace and turned it round... Ilove
working in cityareas that are quite unpleasant and being part of a
Current projectsteam that turns them round. But it doesn’t have to be abig project. I
Paddington Mainline Station, Londoncan walk into aroom in ahouse we’re doing and get abuzz out of it
Royal Welsh College of Music &Drama, Cardiffif it’s doing exactlywhat it should be doing.
Battersea Power Station, London
Toughest project
The BMW plant in Leipzig.Zaha Hadid meeting BMW middle man- BMW, Leipzig
agement. It took creative tension to anew level.
Project he would liketodo
The best space in the world I’ve ever sat in is the campo in Sienna. I
would love the opportuntiyto light that. It has amagical quality.It’s
the qualityof the light, from late afternoon to dusk.
Project he hates
Right now I’m particularlyupset bywhoever did the building lighting
of Centrepoint. Whoever it was, someone needs to buythem alight
metre. And whythe top of Centrepoint changes colour,God only
knows. It’s abeautiful iconic building.
Things he hates
Idon’t want colour for the sake of colour.Tomeit’slike wallpaper.I
get so frustrated with all the coloured light at the moment. It’s what
the Spinnaker Tower in Portsmouth was about. We asked whywe
should use coloured light because we knew we could make it look
beautiful with white light. But we knew we wanted it to act as ady-
namic barometer on the edge of thecity,showing low or high tides,or
wind speed or temperature. It’s got ameaning.The colour is commu-
nicating something.It’slinked back into the historyof Portsmouth as a
maritime city.It’salwaysabout the why.
Lighting designers he admires
There are keycreative people in
The Grove Hotel, Chandlersthe industry–Jonathan Speirs
Cross, Hertfordshireand Mark Major,GaryCamp-
bell, some of the stuff that’s
come out of Maurice Brill’s
studio is verygood. There are
some good people out there
who reallyget it. But Idon’t
think there’s that many.Ithink
there’s lots of people who copy
the people who get it.
Notable projects
BMW Leipzig (Zaha Hadid)
PowerGen, Coventry(Bennetts
Associates)
The Johnson Building,London
(Allford Hall Monaghan Morris)
Spinnaker Tower,Portsmouth
(HedleyGreentree Partnership)
The Grove Hotel, Chandlers
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