112 TECHNOLOGY / STREET & AMENITY LIGHTING
BRICK BY BRICK
The original red brick university
gets a lesson in illumination
from Arup Lighting
The University of Liverpool Victoria Gallery
and Museum was designed and constructed
by Alfred Waterhouse between 1888 and
1893 and has become the venue for the
university’s art and heritage collection. A
Grade II listed building in the Gothic Revival
style, it comprises an L-shaped structure of
three storeys with 13 bays facing Brownlow
Hill and University Square and a further five
bays in Ashton Street.
The new façade scheme by Arup Light-
ing Design – using iGuzzini, Bega, Philips,
Hoffmeister and Encapsulite - was greatly
influenced by the intricate way in which
the patterns of brickwork, flying buttresses
and stonework are arranged alongside the
delicate arched stained glass windows. It is
intended to allow visitors, students and pe-
destrians to rediscover the museum at night
and for the building architecture to anchor
itself visually in the nocturnal environment
in the heart of the university campus.
At each angle of the clock tower are flying
buttresses that rise to form pinnacles with
lead spirelets that are tightly lit with a pen-
cil of champagne white, 3000K light using a
discrete projector (equipped with a ceramic
metal halide lamp source) mounted just
above footpath level. In between the but-
tresses, the stained glass windows’ ‘Early were located on surrounding buildings to
Arup Lighting’s scheme for the University of
English’ look are sensitively illuminated to uniformly illuminate the four-faces of the
Liverpool Victoria Gallery and Museum was
influenced by the intricate brickwork patterns and
provide a mixture of light and shadows to tower including the spire whilst limiting any delicate stained glass windows
reveal the form of the arched stonework us- light obtrusion to acceptable limits.
ing specially selected linear LED luminaires On the Ashton Street façade a selected
located just below the window ledge. At the number of the tall slender stained glass
higher windows this light also catches the windows above the main entrance are left
under roof terracotta dressings and ridge to be uniformly back lit from the internal
ornaments to help emphasise the lightness security lighting to add a sense of pres-
of the edifice. ence. On each side of the two large main
The ninth bay, which forms the clock tower, entrance doors is an inverted clear cone
has an arched entrance over which is an wall mounted type luminaire which act as
oriel window and, a three-light window. attractive beacons for visitors entering the
These are again illuminated using discrete museum.
linear LED luminaires. Above this are the The grey slate and partial lead roof, bathed
royal coat of arms, a large mosaic panel in light from hidden roof mounted projec-
with an inscription and machicolation which tors, stands out against the night sky. The
are evenly illuminated by a single projec- result is that the Victoria Gallery & Museum
tor, fitted with a specially designed gobo architecture is transformed to reveal a
mounted on the roof top of the neighbour- more sensitive, more symbolic and more
ing Foundation building. Using site geometry stimulating visual night scene than the
and suitable optically controlled performing daytime view.
luminaries, four metal halide projectors
www.arup.com
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124 |
Page 125 |
Page 126 |
Page 127 |
Page 128 |
Page 129 |
Page 130 |
Page 131 |
Page 132 |
Page 133 |
Page 134 |
Page 135 |
Page 136 |
Page 137 |
Page 138 |
Page 139 |
Page 140