This page contains a Flash digital edition of a book.
064 PROJECT / WORTH ABBEY MONASTIC CHURCH, EAST SUSSEX, ENGLAND


During evening prayers the lighting is low with focus on the choir and the altar. The altar is the main focal point of the church. The cross above is purposely unlit during some services. The altar is lit from four sides with discreet spotlights on top of structural columns. The altar remains highlighted at all times of the day whether there is a service or not.


PROJECT DETAILS


Worth Abbey Church, East Sussex, England Client: Worth Abbey Monastic Community Architect: Heatherwick Studio Lighting Design: dpa lighting design


LIGHTING SPECIFIED


Bespoke pendent, emergency and spot-fittings, as well as refurbishment to the wall scones, by Mike Stoane Lighting Outer drum lit by 40m double row of cold cathode by ACDC Daylight drum roof lit by 20 x Color Kinetics eW Blast floodlights 2 x Insta Ledlux Handrail lights


2 x Prolicht Big Kooki recessed downlights in the corridors Lutron control system


their quality of light, directionality and dimmability. All fittings were designed for consistent appearance and lamps are fully lockable to maintain focusing. Luminaires contain anti-glare louvres and emergency conversion where required.


The ambo is spotlit from a custom pendant at high level in the central drum and the vaulted timber roof above is uplit from the outside of the central drum. A ten-lamp pendant was also located at high level in the central lantern to highlight the altar and ambo area. This fitting is mounted


DEUTSCH DEUTSCH


dpa Lighting Design wurde ernannt, um mit Heather- wick Studio an der Ausarbeitung des neuen Beleuch- tungskonzepts für die Worth Abbey Klosterkirche zu arbeiten, welches das Lichtlevel für das Ambiente und Aufgaben wie Lesungen bedeutend verbesserte und das Lampen mit einer erheblich längeren Lebensdauer benutzt, die ohne den regelmäßigen Bedarf an Sonder- ausstattung auf hoher Ebene gewartet werden können. Die Beleuchtung musste ebenfalls für eine Vielfalt von Gottesdiensten und Veranstaltungen zu unterschiedli- chen Tages- und Nachtzeiten sorgen. Aufgrund von Budgetbeschränkungen wurden bereits bestehende Leuchten so weit wie möglich verwendet, indem sie für modernere und angemessenere Lichtquellen instand- gesetzt wurden. Das neue Beleuchtungskonzept sollte auch mit spezifischen gespeicherten Lichtszenen voll dimmbar sein und ebenfalls Merkmale und Akzent- beleuchtung entsprechend dem architektonischen Design, religiösen Schwerpunkten auf einfühlsame


via a raise / lower motor system for main- tenance.


Additional elements include high level surface mounted spotlights to the altar and font, concealed cold cathode uplighting to the timber roof and concealed LED uplight- ing to the central lantern soffit and drum. The main ribbed timber roof is uplit with concealed cold cathode around the outside perimeter of the central drum. Lighting to the internal surfaces of the central drum are achieved with high powered LED lumi- naires concealed on top of the structural


und zurückhaltende Art bieten. Schließlich sollte das neue Beleuchtungskonzept eine neue integrierte Not- beleuchtung enthalten. Die bestehenden Leuchten aus den 1960er Jahren erschienen wie Abschnitte von rostigen Rohren mit Lampen im Inneren und diese sehr einfache schlichte Ästhetik sollte fortgesetzt werden, obgleich auf eine modernere Art.


ITALIANO


DPA lighting design era stata incaricata di collaborare con Heatherwick Studio allo sviluppo di un nuovo siste- ma di illuminazione per l’abbazia moastica di Worth, in modo da migliorare in modo significativo i livelli di luce nell’ambiente e per rispondere alle esigenze di attività professionali quali la lettura, tramite l’installazione di lampade molto più durature di quelle esistenti e che non richiedessero in continuazione interventi speciali e di alto livello. L’illuminazione inoltre doveva essere adattabile in base ai vari servizi ed eventi che si


cross beams. Light is reflected from the soffit and softly illuminates the sides. In the centre of the drum just below the cross beams there is another custom made ten lamp pendant to provide ambient and ac- cent lighting below. All lamps are individu- ally adjustable and lockable, and the fixture is maintained with the help of a motorised raise and lower system, the motor of which is concealed from view. This allows the fixture to drop to the floor.


The cross was highlighted with very narrow beam spotlights but to a lesser extent as in the Benedictine Order the altar is the focal point of the church. A Lutron system controls all the lighting with fourteen lighting scenes set up for various applications. The system is designed so that scenes can be added in to current scenes. This means that a much larger com- bination of scenes is possible. www.dpalighting.com


tengono in diversi periodi della giornata e dell’anno. Poiché vi erano dei limiti di budget, l’impianto di il- luminazione presistente doveva essere preservato il più possibile, mirando a rendere le fonti di luce più moderne e funzionali. Il nuovo impianto doveva anche essere interamente programmabile, con scenarari di illuminazione già memorizzati e adattarsi alla strut- tura architettonica dell’abbazia e ai suoi punti focali religiosi, in modo sobrio e delicato. Infine, il progetto doveva prevedere un nuovo sistema di illuminazione di emergenza. Gli impianti esistenti, risalenti agli anni ‘60, apparivano come delle sezioni di tubi arruginiti con delle lampadine al loro interno e questo stile sem- plice e spoglio continuerà nel tempo, sebbene in un modo tecnologicamente più moderno.


ESPAÑOL


dpa lighting design fue elegido para trabajar junto con Heatherwick Studio para el desarrollo de un nuevo proyecto de iluminación para la iglesia monástica Worth Abbey, que mejoró significativamente los


niveles de luz por ambiente y por requerimientos de tareas como la lectura. Ello utilizaba más lámparas de larga duración de las que podían mantenerse sin la necesidad regular un equipamiento especial. La iluminación también debió abastecer una variedad de servicios y eventos en varios momentos del día y del año. Debido a restricciones presupuestarias las lumi- narias existentes hubieron de ser utilizadas tanto como fuera posible siendo renovadas por fuentes de luz más modernas y apropiadas. El nuevo proyecto de ilumi- nación debería ser también completamente tenue con iluminación específica memorizada y también debería proveer iluminación característica y acentuada como sea apropiado para el diseño arquitectónico, para los puntos religiosos centrales, de un modo sensible y so- brio. Por último, el nuevo proyecto debería incorporar nuevas luces de emergencias integradas. Las luminarias existentes de 1960 aparecieron como secciones de cañerías oxidadas con lámparas dentro y esta estética reducida se continuó, no obstante, de una manera técnicamente más moderna.


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  |  Page 141  |  Page 142  |  Page 143  |  Page 144  |  Page 145  |  Page 146  |  Page 147  |  Page 148  |  Page 149  |  Page 150  |  Page 151  |  Page 152  |  Page 153  |  Page 154  |  Page 155  |  Page 156  |  Page 157  |  Page 158  |  Page 159  |  Page 160  |  Page 161  |  Page 162  |  Page 163  |  Page 164  |  Page 165  |  Page 166  |  Page 167  |  Page 168  |  Page 169  |  Page 170  |  Page 171  |  Page 172  |  Page 173  |  Page 174  |  Page 175  |  Page 176  |  Page 177  |  Page 178  |  Page 179  |  Page 180  |  Page 181  |  Page 182  |  Page 183  |  Page 184  |  Page 185  |  Page 186  |  Page 187  |  Page 188  |  Page 189  |  Page 190  |  Page 191  |  Page 192  |  Page 193  |  Page 194  |  Page 195  |  Page 196  |  Page 197  |  Page 198  |  Page 199  |  Page 200  |  Page 201  |  Page 202  |  Page 203  |  Page 204  |  Page 205  |  Page 206  |  Page 207  |  Page 208  |  Page 209  |  Page 210  |  Page 211  |  Page 212  |  Page 213  |  Page 214  |  Page 215  |  Page 216  |  Page 217  |  Page 218  |  Page 219  |  Page 220  |  Page 221  |  Page 222  |  Page 223  |  Page 224  |  Page 225  |  Page 226  |  Page 227  |  Page 228