search.noResults

search.searching

saml.title
dataCollection.invalidEmail
note.createNoteMessage

search.noResults

search.searching

orderForm.title

orderForm.productCode
orderForm.description
orderForm.quantity
orderForm.itemPrice
orderForm.price
orderForm.totalPrice
orderForm.deliveryDetails.billingAddress
orderForm.deliveryDetails.deliveryAddress
orderForm.noItems
070 FOCUS


PROJECT FILE


Client SFG Group


Interior design and lighting Shed


@sheddesign


Lighting collaborator and supplier


(pendant lighting, spotlighting and pink neon feature rope) Fagerhult fagerhult.com


‘While sometimes simple in their geometric design language, scale and illuminance go a long way to play with the spatial interpretation of spaces and holes,’ he adds. Industrial materials are juxtaposed with neon, plexiglass and bold graphics so that each hole has both an identity but also real gameplay meaning. ‘Players lose themselves in a kaleidoscope of colour, light and music,’ says Dalziel. ‘Te course is intended to be a landscape of intrigue, discovery and excitement.’


Te large, comic book elements and vivid, in-your-face graphics that form the golfing landscape are emphasised with strategic illumination. Each individual hole has a perimeter-skirting LED floor wash to denote the boundary of the hole itself.


On hole three (‘Hazard’), LED colour-changing battens on sequence timers were used, and also positioned behind a variety of vibrantly coloured polycarbonate wall panels providing immersive colour for players. ‘Tis is a play on golfing terminology interpreted with high-vis reflective chevrons and pattern graphics, coloured polycarbonate walls, floor-length yellow curtain and light-changing battens,’ explains Dalziel. ‘Te combination creates by far one of the most vibrant, reflective and eye-catching elements of the overall scheme. If there was one way to play up a golfing term with light, graphics and reflective materiality it could certainly be this one.’


Hole five (‘Afraid of the Dark’), by contrast, plays with a lack of light, plunging patrons into darkness when a ball rims the hole on a missed putt. Te immersive dark box experience is made edgier with a variety of surface textures and undulating floor levels.


Internally illuminated signage, large lightbox type and colour-flashing LED light tubes add to the energy and physicality of the space. ‘A light carnival of colour and movement,’ explains Dalziel.


A 2.8m-high discreet – ‘almost unnoticeable to the eye’ – black track-and-spot system is used throughout, strategically located to allow flexible positioning of spots to highlight specific areas, holes and landscape features, as well as the necessary circulation routes within. Adjustable beam angles help wash wall backdrops and contrast colour flooring designs.


For the bar area, a simple 30m run of suspended and tangled pink neon rope light adds a graphic element, and together with the softer white globe pendant lights (dimmable for changes in pace from day to night) are reflected in the rose wall mirrors and white-gloss oversized menu gantry suspended above the bar. Conventional soft accent lighting brings out the brass edge detailing to the bar and the original brickwork arch shell. It is an unapologetic brew of colour, graphics and lighting; what Dalziel describes as a ‘spirited kaleidoscope of illumination’.


Above The essence of Birdies is fun – even the bar area is crowned with a plumage of neon pink rope


Right Shed wanted the bar’s lighting to bedazzle, confound and compel with a glitzy dynamism, as here at hole three of the mini golf course


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