PROJECT 1 033
Top left Lighting is kept to a low level throughout to respect the darkness of Northumbria’s skies
Top right A decorative light feature was created for the Bistro using 270 spherical, glass globes internally illuminated by fibre optics suspended from the ceiling
Bottom left Visitors have the opportunity to purchase locally produced handcrafts
Bottom centre A minimal lighting design was used in the museum, allowing discreet use of LEDs and spotlights to highlight attractions
Bottom right In combination with the low levels of lighting, wayfinding has been enhanced by making standout lighting design features
design and ductwork resulting in potentially long optical fibre runs across the ceiling. The layout and design needed to counter this to minimise excessive optical fibres lengths which can result in green discolouration to the optical fibres. Significant coordination and planning went into the design and installation approach in advance, to establish the layout with the optical fibre lengths cut by hand on-site and curated by eye to produce the final, organic arrangement.
The lighting also needed to serve multiple functions, sometimes with challenging operational requirements, such as in the distillery: an ATEX rated, potentially explosive working environment, also experienced by visitors on tours. Functional lighting was combined with decorative lighting to create two lighting scenes to support each requirement. Directional, warm spotlights illuminate the distillery copper pot stills, enhancing the raw materials and textures, as well as highlighting interior architectural features to create a community focal point after dark visible through large arched windows from the street.
Adjacent to the distillery is the function room, featuring an impressive, vaulted ceiling, also visible from the street through large windows. Here, a series of large, curved, tiered copper-leafed pendants feature that make a visual connection with the copper distillery pot stills. The quantity of pendants, scale, number of tiers, orientation of the tiers and layout were all tested so to create the best visual impact experienced internally, as well as externally from the street view. The final design settled upon includes three pendants, and alongside the pot stills, they create a striking landmark viewed from the exterior that celebrates the Ad Gefrin brand.
The lighting design for the visitor experience includes a tasting room, retail space, museum and Great Hall. The lighting design within the tasting experience was kept minimal by using very, narrow beam, discretely mounted spotlights and LED light sheets to highlight the colour and qualities of the whisky, allowing the rest of the room to fall into darkness to support the 360 degree AV experience. A similar, discrete approach was also used in the Great Hall and museum to ensure that the artefacts and AV are the key focal point. Retail lighting in the shop at higher level provides a clear floor area for visitor movement and allows the space and displays to be used flexibly with feature lighting to highlight products available for sale. Michael Grubb, founder and managing director of Michael Grubb Studio, comments: ‘There was a real investment in the local community throughout this project. The clients are a family-run business who were committed to involving and benefitting local people. This level of care can be seen throughout the details of the project and the high quality of the result, due to their craftsmanship and personal attention to detail. This is something that they really wanted the community to be proud of. The success of this project is also due to teamwork and all the pieces coming together. A good working relationship between the client, contractor, designers and engineers created a pleasant experience and a real harmony to the project.’
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
