VBK Lighting Consultants Ltd

VBK LIGHTING CONSULTANTS LIMITED 01323 833 444

Illuminating the built environment since 1996

CHAPTER 1

COMPANY

VBK Lighting was founded by Angela and Max von Barnholt in 1996 to provide a bespoke design service for architectural design practices.

Since its inception, VBK has worked on projects throughout the world, receiving commendations and awards for their work from UK and European committees. More than this, we appreciate the personal recommendations from our clients which ensure we are privileged to work on some of the most prestigious and challenging projects currently in development.

CA’N ROSEN | FORMENTOR

“Light is the anonymous partner to architecture, sacrificing its identity for the benefit of its subject. To us, lighting design is the artistic application of technology in order to satisfy both the aesthetic and function, considered as complementary criteria, not conflicting tasks”

Max von Barnholt

1.1

Project Scope

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We do not prejudge a project’s potential based on scale. Some of the most rewarding projects we have carried out have been on a relatively small scale. Often these smaller projects have a greater level of detail as there is a keen sense of expressing individuality in the scheme. For example, a 100’000m2 airport terminal provides less of a challenge to us as designers than a boutique restaurant.

Small projects, especially high-end residences and leisure projects, are therefore very much welcomed by us. The Design Development is far more personal and the communication is more vital in determining how the project evolves. One cannot develop a draft proposal without expecting obstacles or design changes to arise. These often represent opportunities which lead us to diverge from the original concept, but in a manner which is likely not to have been considered at the outset.

Whether you need us to carry out specification and commissioning for lighting to your artwork at home, or a complete scheme for one of our national institutions, we will provide you with a unique solution, within a budget and to a programme. On the following pages we set out our approach, and images of some of our projects.

1.2

History Our History is defined by our projects, which include:

the Courtauld Institute; Science Museum; Wagamama; Battle Abbey; Tate Modern; National Maritime Museum, Greenwich; the National Grid; the National Portrait Gallery; Groucho Club; British Airways; Harrods; the National Trust; English Heritage; Heathrow Airport; the Wellcome Trust and numerous private residences in the UK; USA; France, Italy, Spain and the Caribbean.

For more images and a client list please visit our website: www.vbklighting.com/gallery

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VBK started out in 1996 working primarily in Museums and Galleries, as well as Leisure projects. After a year or two, a few clients requested we assist them with the lighting of their private homes and so it was that unintentionally we moved into the residential sector. This sector, perhaps more than any other market, has grown out of all recognition, mainly because the awareness and understanding of lighting design by the private homeowner is far greater now than it was. The public is more design conscious than it was 15 years ago, and the need to curb energy use has turned a lot of attention on to lighting, as it is a major consumer of electricity.

Our projects are therefore incredibly varied, each one with its own set of requirements. We tackle airports, hotels, restaurants and homes. We work on small projects taking a few months, to new builds and renovations of mammoth proportions which can take up to 6 years to complete. We are currently working on the largest private residence in London, second only in size to the Queen’s residence, Buckingham Palace.

CHAPTER 2

CREDO

VBK deliver illumination not lights. We take a holistic view on lighting design: Rather than applying products without considering the unique properties of a site, or the needs and expectations of the client, instead we design with light as a medium.

PORTO MONTENEGRO | TIVAT, MONTENEGRO

“We have worked with VBK for many years and it has been a delight. To the invaluable art of lighting design they bring great originality, lateral thinking and a lot of fun. They avoid standard solutions always striving to create lighting which not only does the right job, but does so in a way that is unusual, subtle and discreet. Their encyclopaedic knowledge of products notwithstanding, they promote light itself rather than the fittings. Their skills are not just creative; they include efficiency combined with excellent documentation”

Edward Hill, MD| HMB Architects

2.1

DaylightThe immediate environment also impacts on the light, especially sunlight. A window with a north aspect can sometimes let in more light than a southerly facing window: this seems counter-intuitive but in the urban environment, many facades are painted white and act as huge reflectors redirecting sunlight southward into rooms and buildings opposite. The importance of reflected light is immensely useful to the lighting designer and architect and yet it is chronically undervalued.

It is shameful that photographers are given a greater level of education in the application and use of light than architects, yet our working environments are affected by light more than any other service: light is the one thing which we cannot live without, and the utility we each use every single day of our lives. We can all survive without TV, radio, music or telephones. We could even get by without air-conditioning and heating. Light, however, enables us to function and enjoy our world.

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Natural light seems to have been appreciated more in the past than it is today. Sunlight is often discussed as a source of energy; a commodity to be transferred into energy by utility companies, to provide electricity which can power electric lights. This is a very circuitous route which can be bypassed during hours of daylight.

The great exponents of architecture realised the potential for using daylight as a direct force, and their buildings were designed with the sun as a fundamental point of reference. Of course, with the advent of electric light the need was no longer present but, in being able to generate alternative light sources, it seems that the most basic and cost effective light source has been ignored by many designers.

The simulation of daylight is often requested by our clients, however, what one imagines daylight to be often differs between one person and another. Most people think of sunlight when thinking of natural light. Some think of daylight as being warm, while to others it is cool. In truth, every personal view is valid, as one needs to remember that natural lighting changes throughout the day as well as seasonally. It is also affected by weather patterns and geographical positioning.

2.2

What is Light?The subtleties of colour temperature, colour rendition, beam purity, colour banding, remote phosphors, illuminance vs luminance, inter-reflectance, rods and blocks; all of these terms may be familiar to the designer and architect, but not many can express either their importance or contribution to the performance of a lighting scheme.

Light is nothing until transferred onto a surface. Light has no visible content in itself. It relies on, and is controlled by, external factors such as diffusion, refraction and reflection. All this should lead to an understanding that the lighting designers’ role is crucial to the expression of architecture: without light there is no form, no colour, no texture, no spacial awareness, no drama.

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We all certainly know what light does for us, but not many people know what light is. Fewer still understand how we perceive light.

Try to explain to someone that a red fabric is everything except red and they will raise an eyebrow. Explain that a white sheet of paper is in fact reflecting every colour to the eye and they begin to struggle.

Light is nothing more than visible energy; that part of the electromagnetic spectrum which the human eye can detect. Now it becomes a simple step to understand how mammals can see in the dark; they have a wider scope of vision than humans in the infra-red end of the spectrum. Conversely, birds of prey and reptiles can see the ultraviolet signature trails left by prey.

Light to us humans has a relatively simple benefit - it enables us to negotiate our world, and function within it. The lighting designers’ task then, is to ensure that light is properly and cleverly applied to amplify and enhance our perception of space, and to facilitate tasks. The problem of course, for those not familiar in the use of light as a design tool, is that light itself is intangible.

2.3

Designing with LightThe principle of subliminally creating the impression of the changing quality of light throughout the day can also be suggested. The sky, a canopy of cool blue diffuse light, in contrast to the expected shafts of warm sunlight, are implied in this example for Wagamama at Harvey Nicholls in Knightsbridge. Indirect lighting to the ceiling provides a cool bright environment for lunchtime users, while the pools of light to the table are the only light on in the evenings.

There is little point trying to recreate daylight at 10 o’clock at night, as evening diners know not to expect it. Indeed, doing so would only reinforce the fact that artificial lighting has been used. Human physiology, circadian rhythms, biometric time-clocks and perception, right and wrong, all have to be considered when designing light within interiors which are used throughout the day and night. In that respect, designing for the northern hemisphere is a more demanding task, as there will always be the need for artificial light during our working day.

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One delightful example of reflected light relates to a restaurant which we designed some years ago: on a very tight budget the client wanted a lighting system which altered the atmosphere between breakfast, lunch and dinner. The required level of control was clearly not affordable, so we enquired as to the tablecloths used in the restaurant. These were indeed changed after every sitting, so we suggested that he simply have different coloured tablecloths for each sitting. The lighting directed onto the pure white tablecloth for breakfast gave a clean bright light.

For the lunchtime sitting a cream coloured cloth was used which acted to slightly warm up the colour and reduce the intensity reflecting up in to the interior. In the evenings, a rich tan colour gave off a glow which significantly reduced the lighting level in the restaurant. The lighting was constant throughout. Yes, of course, a complex dimming system with different colour temperatures is more effective, however, it does demonstrate the impact that the surface light falls on has a great part to play.

CHAPTER 3

CONCEIVE

Concept design requires a working understanding of all elements of architecture; design; structural engineering, other services as well as aesthetic interpretation.

BOYDELL COURT | LONDON

“We are fully conscious of the importance of a well-thought out lighting scheme for every room and VBK have made it possible for us to achieve the impact we wanted form the lighting. We have worked with the VBK team on several projects and Max is quick to interpret the look we are aiming for, and to translate it into a workable scheme. Based on our experience I would highly recommend them”

Philip Vergeylen | Nicholas Haslam

3.1

Concept Design IntentOnce these criteria have been agreed upon, the parameters within which we can operate form the basis of our design.

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Rough site sketch expressing the outline proposal for a new ceiling and indirect linear lighting system.

Slideshow 1 - National Grid Power Control Command Centre

The most important element in any project is communication. This is particularly important at the beginning of a project as this is the best opportunity to determine the brief and set the design intent in the right direction.

We have no preconceptions when embarking on a project, so first and foremost we strive to understand the occupants’ needs of an interior for they are the most important factor:

1 who is using the space? 2 for what purpose? 3 for how long? 4 at what time?

The site considerations also play their part:

5 what can we install? 6 where can we install it? 7 what are the maintenance issues?

As the site is manned 24/7 the design intent for the National Grid was mainly driven by the need to provide a working environment which took into account physiological needs at different times of the day. The system is fully indirect to avoid reflected glare off monitors, while colour temperature, as well as intensity, is automatically controlled to change imperceptibly throughout the day.

3.2

Design Development

Our only hope was to be able to tackle each limitation in isolation.

Our proposal dealt with these in isolation:• All lights fixed to bonded slabs and placed out of sight• Remote lights set into pits to be concealed• Pit lids are covered with turf and grassed• Lids retract at dawn • Hydraulic openings are triggered by a satellite time-clock• Full automation dimming system installedAfter a mock-up demonstration we were granted permission....

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View of north facade from the valley below

Slideshow 2 - Heveningham Hall, Suffolk

Agreeing on a concept is not always an easy process. There are the obvious situations where opinions differ, however, one can usually find common ground in one of the options presented. Design Development is by definition the process of checking the feasibility of the scheme, and where necessary altering elements of the plan in order to implement it.

Occasionally, one comes up against a set of limitations which appear so insurmountable as to render any scheme impossible. Such a situation was the case when we had our first meeting to consider the illumination of Heveningham Hall. This is a majestic stately home; a statement of wealth through architecture. It is significantly grand to attract the attention and control of the National Trust and English Heritage. Not only is the structure listed, but so too is the landscaping. Any thought of a conventional lighting scheme was evidently not going to pan out:• No fixing to the fabric of the building• No lights to be visible • No trip hazards• Landscaping open to public and livestock• No manual switching mechanisms allowed

CHAPTER 4

CREATE

With the concept agreed, one is relatively free to generate the level of drama. This, however, does need to be applied with discipline as too much theatre detracts from the subject. VBK differ from many lighting design practices in that we aim to express our subject rather than the illumination.

PRIVATE RESIDENCE | FISHERS ISLAND, NEW YORK STATE, USA

“Working on Harry Potter I fully appreciate the reliance on light as a visual medium - I think of Max as the Stanley Kubrick of lighting; he is original in concept, groundbreaking in application and uncompromising in direction...VBK are the go-to practice if you have a tough, challenging brief”

Simon Emanuel | Film Director

4.1

Drama or TheatreArtwork in residential projects is a prime determiner of drama. Simply by the correct management and control of illumination dramatic spaces can be created.

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A successful architectural lighting scheme is one in which the visitor commends the architecture. A successful retail lighting scheme should emphasise and promote the merchandise. So museums and galleries should first and foremost present their collections, not act as a stage for theatrics. Lighting should only be noticed by lighting professionals.

If the brief calls for drama from the lighting, is it from the lighting, or is it the lighting? This is where we feel the subtle art of lighting design is being lost, as designers feel they need to justify their presence by promoting the visual impact of their medium, by the use of kinetics or colour changing effects, rather than having the confidence to promote their subject.

That said, we are not to be restricted to shrinking violets and, given the right environment, lighting design can and should be used for the full dramatic impact which it can so easily offer, whether that be in the home, gallery, restaurant or hotel.

4.2

Amplifying ArchitectureIllumination can be on a large scale. External lighting can have a huge impact on a building and, as well as representing the design, it can serve a function .

The closer to the equator the project is located, the less artificial lighting seems to be appreciated, as the surfeit of natural light relegates the characteristics of artificial light to a utility rather than a design tool. This, thankfully, is changing as architects and designers from northern Europe and the US are being commissioned to carry out projects in the sun, bringing with them a desire for their building to have an impact after dusk.

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Look at any model or CGI of a proposed building and one instantly sees form and spacial awareness. So intuitive is the mental process that we simply comment on the design as a 3-dimensional exercise. As lighting designers the architect is totally at our mercy after dusk. We have the power to shatter those well laid plans, the beautiful sweeping lines, the clean uninterrupted expanse of plaster or marble. With the careless application of light, sprawled over a drawing, a lighting scheme can ruin the architects’ work.

By the same token, however, we can amplify forms which are impossible for the architect to express through construction alone. Perhaps variations in light can be affected by a choice of material or colour, but this is permanent and may not be desirable during day-lit hours. So then our playground presents itself, a canvas onto which, and through, we can playfully invert architectural lines, playing with the negative imagery and altering emphasis at night. So we can dress the building for the evening.

4.3

Emphasising DetailsCavities, projections and shadow gaps all provide opportunities for playful illumination.

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Artificial light can be integrated into many small cavities, and if the fit-out design can be accommodating of the lighting, then there is no limit to the levels of drama which can be created. Stairs which during the day simply serve as a transition between floors can become sculptural, their form exaggerated by the use of linear indirect light. Niches which are not much more than dark recesses during the day can dominate an interior once lit. Entire walls and ceilings can become sources of light, with colour-changing effects to alter the lighting level and colour to suit the mood of the occupant.

We are limited only by the space, or lack of it, afforded us by the interior design. The importance of bringing us in at the beginning of a project is highlighted by the many opportunities missed once the fit-out design has already been committed to, without first considering the light.

CHAPTER 5

COMMUNICATE

Given our promotion of site and studio time on a project, we spend most of our design time with the client and design team. This allows us to pick up on pertinent information which would otherwise not be passed on to us, and it also affords us the opportunity to convey our ideas in the form of a free open discussion, rather than presenting a scheme developed without external input.

PRIVATE RESIDENCE | LONDON

“We have worked with Max for over twenty years, collaborating on many projects together from blockbusters exhibitions such as the Maritime Museum, to a grand beach house in Nantucket. He brings a light touch to his schemes allowing the lit objects to come forward, and a theatrical edge to our schemes. We are currently working on more projects together which will amplify the success of our relationship”

David Bentheim | Bentheim Trolliet Architecture

5.1

Project Evolution

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All construction projects can commence once the structural engineering and basic elements have been agreed. Joinery, fit-out, furnishing, sanitaryware, even space-planning of some rooms are all considered well after the works have been started. As lighting is integral to all these elements, we have to be prepared to progress our scheme incrementally. The problem which can arise is that structural

design, being completed ahead of us, denies us opportunities which would benefit the illumination of a room.

The sooner the interior design can be agreed upon, the more chances we will have in making the most of the lighting scheme. A client wishing to embed lights in a stringer of a stair cannot do so if the concrete has already been poured. Lighting around a skylight is only possible if conduits have been set into the concrete soffit.

Integrating and concealing hardware is our driving intent and greatest challenge. In order to make this a reality, collaboration with all members of the design and construction teams - architects, designers, consultants, HVAC engineers and contractors - is absolutely pivotal.

Positioning of the light source is determined by the correct delivery of light. One must not design off plan; an understanding of sections and elevations is essential. We still receive calls from architects asking us to align a light to a speaker or smoke detector because they want their reflected ceiling plan to look neat, when this would compromise the performance of the lighting.

5.2

Collaboration

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Having spent exhaustive meetings creating the scheme, and visits to chaotic building sites to check feasibility, we need to ensure that all the information we produce is understood and available to the right people.

While most of the thinking occurs on site, the ideas agreed upon during these site visits and studio design meetings then get transferred into documents which can be issued for discussion, in order that the M&E engineer and architect can ensure lighting proposals are properly coordinated with other services. The Project Manager responsible for the execution of the project wants to know that the drawings he is working with do not contain any conflicts between services. We try to ensure that we have ascertained the feasbility of our proposals before we spend time putting them to paper.

Even with over 20 years of experience, some projects are on such a scale that until one stands within the space at base-build stage one cannot fully appreciate the volume. Also critical to the internal architecture, and our approach to the use and control of daylight, is fenestration. Windows and skylights always seem to offer something different on each project.

CHAPTER 6

CORRESPOND

PRIVATE RESIDENCE | KENSINGTON

“Max has a refreshingly direct and unpretentious approach. He understands what we want, knows how to achieve it, and hassles everyone to make it happen. VBK always seem to take us in a direction we had not thought of; light is so difficult to envisage, and if we cannot always understand the proposal, they smile and assure us it will be fine...and it always is. They are reassuring and a pleasure to work with”

Miguel Arenas | Estudio Arenas, Mallorca

The best ideas may never be realised if not properly conveyed to those expected to execute them. The quality of documentation is by far the most important factor in ensuring that our design gets implemented properly.

6.1

Documentation

CGI visual imagery can cost more than the personnel time on a project and, while we are happy to provide this service, these computer generated images are essentially only suitable as a guide, as they can only be as accurate as the data used to create them. We prefer to demonstrate design intent through mock-ups and prototypes, thus demonstrating the exact effects which we are proposing. Only this way can a client sign up to the finished article.

Opposite: Photographs show the before-and-after of a mock-up demonstrating the proposed illumination to a series of 6 metre columns, highlighting the capitals covered in gold leaf.

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We have developed our own unique system of documentation, going beyond the scope of the usual deliverables associated with the lighting designer, providing the following on all projects:

• Lighting Layouts on AutoCAD or VectorWorks• Detailed Annotations issued as PDFs• Zonal Separation Spreadsheet detailing the design intent• Luminaire Schedule detailing all lights and costs on the project• Technical Specification Sheets for each Luminaire

6.2

Web Administrator

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Of course, having good documentation counts for nothing if it does not reach the construction team.

All of our documentation, once produced and issued to the lead designer, is then uploaded onto our bespoke project vault - WebAdmin. This is our secure website dedicated to your project, from which, after logging in, you can view or download all the issued documents. As well as our own documents, we upload information which we feel will assist the contractors in the interpretation and application of the scheme, such as site photographs; annotated drawings; supplementary architectural drawings; manufacturers’ quotations and hand-drawn sketches. There are also links to manufacturers’ websites in order to view further technical installation sheets, as well as handbooks relating to lighting industry regulations.

1 - Log in from the home page of our website

Slideshow 3 - WebAdmin

In short, this is a project vault with everything that could be required by both site contractors and client. This information can be accessed at your leisure, at any time, from any place. Information can simply be viewed for reference, or saved and printed out.

CHAPTER 7

COST

NATIONAL MARITIME MUSEUM | GREENWICH

“With all the units costs for the proposed lighting being forecast on the documentation from the beginning of the project, keeping a handle on costs has been simple. It helped us keep within budget and not get carried away with the design without consequence to costs.

Miles Butterworth | GrafikBuro, Switzerland

Every client wants the best lighting scheme but within the budget available...simple economics, but as has often been said, cheap does not represent value.

7.1

Projected Costs

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Historically, the role of a designer was to do exactly that; design. Some vague notion of approximate costs for the scheme would be useful, but not part of their remit. How does a client keep track of the projected costs of the lighting scheme? And, if as has been mentioned, the lighting design has to be populated piecemeal as information regarding the architectural and interior design becomes available, how can one forecast costs for what has not yet been designed?

Quantity Surveyors are appointed to control costs on a project, so perhaps they could project the costs? Unfortunately, no average £/m2 exists, and even if such a figure is suggested, we would immediately disregard it. Instead we provide this information in an exact and applied manner.

Included in our Luminaire Schedule are the unit costs for every light fitting proposed. This is then broken down by area and application so the client and their QS can assess and approve the projected costs based on their prioritisation. If a cost is unknown because the concept design requires further discussion we will always try to give estimates of these costs so that at least the client has some idea of cost.

If a client makes it clear that the budget is tight, we will think laterally to try to come up with a scheme which works but does not look compromised. Finding a cheap alternative is not value engineering, it is simply doing the project on the cheap, and cutting corners is always a false economy.

7.2

Design Fees

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At VBK we provide a full cycle design, meaning we are in attendance throughout the project, keeping abreast of changes, evolution and input from other members of the design and construction teams.

We never produce a speculative design: we require sections. elevations, finishes schedules and occupancy details. We discuss the architectural focus, artwork, drama and function. All of this takes time and needs to be maintained and controlled. Some projects change so much that these stages of evolution have required over 30 design changes. That necessitates 30 changes to Drawings, Zonals, Luminaires Schedules, Bill of Materials and Specification Sheets - over 900 separate documents. That takes time, not to mention the time taken to come up with alternative designs and products due to site conditions.

Practiced and experienced in the application of light, we can very quickly adapt to architectural design, and internal finishes.

We also inspect the progress on a regular basis to ensure that the systems are being correctly installed. On very complex projects, some clients appreciate that these visits need to be more frequent, and this frequency is the single biggest factor in determining our time on a project and therefore our fees.

Once the duration of a project is known, and the attendance frequency is agreed, we can set out a fixed fee for your project.

CHAPTER 8

CONSTRUCT

During the construction process it is beneficial to attend site in order to check progress and design around conflicts which present themselves. New-build projects should go smoothly, but having to work alongside many services, occasionally the systems can get in each others’ way. Imagine then how fraught with risk a refurbishment is.

SCIENCE MUSEUM | LONDON

“VBK are an exemplary design consultancy; a constructive and responsive part of the design team. They understand architecture and design the lighting to perfectly suit the spaces and finishes. Excellent at the creative process but also the meticulous detail and specification, working well with other services and delivery within deadlines. We enjoy working with them and wholeheartedly recommend them to our clients”

Adrian James | AJA Architects

8.1

Site Assessment

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Site assessment is imperative if we are to keep on top of the progress on site. Even if one attends a meeting without an agenda, or expecting to impart information, it is inevitable that some part of the construction, or service installation will necessitate attention, or in the worst case scenario, generate a change to the lighting scheme. We factor in regular site attendance to all our projects to ensure proper coordination.

The client, as well as other members of the design team, may also wish to change elements of their input. Site attendance enables us to understand how these may impact our proposals, and allows us to adapt accordingly. Often obstructions which are entirely unforeseen present themselves, throwing the entire project into disarray. Flexibility, improvisation and speed of thought are the key to finding solutions to these situations.

8.2

Supervision

Our only hope was to be able to tackle each limitation in isolation.

The installation of fibres must be carried out during the first fix stage, early in the project. Being embedded into the fabric of the build they cannot be treated as standard light sources.

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The fibre optic tails are fixed to the concrete soffit already pointing in the right direction.

Slideshow 4- Fibre Optic Installation in a bespoke ceiling

Certain aspects of our design will demand specific attendance to supervise the more complicated installation processes: Fibre optic systems are notoriously problematic and require very careful programming, as the involvement of many contractors and consultants is usually required. Pool contractors, electricians, specialist plasterers, structural engineers can all be involved in the design and installation of a single harness. Often we even have to collaborate with specialists responsible for mosaic tiling, wooden fascias, flooring and joinery suppliers. With the level of integration one has to develop a line of communication with everyone on the project.

8.3

M&E Co-ordination

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All construction projects can commence once the structural engineering and basic elements have been agreed. Joinery, fit out, furnishing, sanitary-ware, even space planning of some rooms are all considered well after the works have been started. As lighting is integral to all these elements, we have to be prepared to progress our scheme incrementally. The sooner the interior design can be agreed upon, the more chances we will have in making the most of the lighting scheme.

Setting out first fix conduits for lights in areas where concrete is to be vast is particularly critical. We assist in this process, being on hand to make sure the contractors fully understand the requirements.

CHAPTER 9

CONTROL

“Love the house; love the lighting”Bernie Ecclestone

Until very recently specifying and commissioning a dimming control system was incredibly simple. With LEDs, 1-10V signals, DMX protocol and DALI being commonplace one can no longer rely on home automation companies to understand the intricacies of lighting equipment.

9.1

A Personal Solution

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Our mantra of concealing hardware extends to the method of controlling your lights. If we can integrate the control system we look to do so, and with recent technology this has become easier to achieve.Instead of conventional positioning of switches at every threshold, we transform the home into a unified environment, with controls for turning on and off lighting scenes positioned based on the use of the house.

As lighting designers, we approach the lighting control systems from the perspective of the generator of the system. Dealers who sell these systems as an extension of AV systems have a tendency to over-specify lighting control product as they are unaware of our intent.

Our consideration is the client, not the value of the project, and if we can deliver a system without the need for over-complicated tools, then we will look to do so, actively encouraging the client to reduce hardware rather than increase it. Having uncovered a 14th century private chapel while refurbishing a villa in Orvieto, the client decided it would be a perfect venue for intimate dinner parties. Rather than clutter up the chapel we proposed the using the simplest of lighting tools - candles.

Just as we endeavour to conceal lights, we are not enamoured with the gratuitous application of control hardware. This should be kept to a minimum, and hidden away to make your life easier not more complicated. Touch-screens will soon be thing of the past, with mobile devices capable of providing the end-user sufficient flexibility and control. If, however, you wish to display your technology, then of course we can assist in this too, as we do for developers.

We are purists, not technophobes; we simply prefer the technology to serve a purpose rather than become a dominant feature.

9.2

Operation

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2012 has seen the arrival of the fully wireless control system and VBK have been fortunate enough to be the first designers and installers of the new Homeworks QS system in the UK. Homeowners can now simply access all lighting scenes and individual circuits from a

portable device such as iPads and iPhones. With a link to the home network, every room, or the whole house, is controlled by a system more akin to a commercial BMS, but with the intuitive interface of familiar devices.

As an appointed and accredited elite designer and system programmer of Lutron systems, Max installed the first system in Europe in 1990. VBK have an unparalleled history in the design, commissioning and programming of the Homeworks systems, Lutron's premier control offering.

More choices are available to the home owner, and while new-build projects can very easily use central control systems, the new wireless systems enable simple refurbishment projects to install these systems also. This is especially pertinent to period and conservation projects, as all the surface cables can be eliminated. Furthermore, no cables are required to or from switches, meaning permissions from listed buildings need not be required if surface controls are used. Timbers do not have to have holes drilled for cables to pass through, and the possibilities for positioning of a keypad are infinite, given the size of the wireless units. Indeed, it is conceivable that one could control a house without a single keypad as all the mobile devices can trigger scenes and events.

9.3

Compatibility of Lamp Types

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Years ago a 12-year old could put together a central control system, so limited and easy were the load types to control; one simply had to count up the number of circuits, populate a dimming rack to cater for that number, and play around on site with programming. Things have changed.

The lighting industry has moved on at such a rate to lead the charge for energy efficient solutions that various generations of new light sources have entered the market. The lamps themselves are not the issue, rather the control required to operate them. Many projects experience difficulties in dimming the lighting which has been installed simply

b e c a u s e i t i s v e r y difficult to keep abreast of all the new methods of control. Interfaces, DMX channels, 0-10V modules, leading edge vs trailing edge drivers, RFI suppression; all these and more create confusion and errors.

There are also problems with switch gear, as many dimmers cannot be set to operate as a switched non-dim zone. LEDs (light emitting diodes) cause the most difficulty, with some dealers simply proposing that they cannot be dimmed which is not the case. Every lamp source can be dimmed, it is the control gear which is the issue. Some lamps serve no benefit for being dimmed such as HID, and being used commercially, these are in practice never dimmed.

Every lamp source which is used in leisure and residential projects can, and in our opinion should, be linked to a dimming system. One would not dream of music without volume control - how much more useful then is the ability to control intensity and configuration of lighting within a room. There is no reason why every single light in the home could not be on a dimmer system, offering automated energy efficiency, while giving the occupant the ability to customise the scenes to mood, time of day or function.

CHAPTER 10

COMMISSION

VICTORIA & ALBERT MUSUEM | LONDON

“Trying to build a house on a tiny island off the US coast, designed from the UK, was a challenge to say the least, but Max was instrumental in making it look brilliant, working closely with the local contractors and our US architects to ensure his design was realized. After that success VBK were appointed to help design lighting for the school on-island, and after that we had no hesitation in handing them control of our house in Boston...they are original, creative and reassuringly focused”

David Rosenzweig | Boston USA

VBK personally carry out all the commissioning of our lighting schemes. It is an incredibly important part of the process, putting the finishing touches to a scheme, making sure everything is set up correctly.

10.1

Commissioning - Lights

33

Commissioning lighting is very important to us. We bring our expertise gained illuminating the national museums of the world to all our projects, taking meticulous care to exact the best from all applications by making the tiniest adjustments. Because we believe

that the subtleties of light can never be simulated by CGI, we carry out exhaustive mock-ups and prototypes.

If we are using DMX or DALI interfaces to create complex automated sequences to generate Daylight Simulation systems we run soak tests on all equipment to ensure that any potential component failures are identified prior to Practical Completion. During this process, which can take up to a month, we conduct various tests of the sequences and colour blending, to ensure that the artificial light is balanced with site conditions such as daylight.

Simpler adjustments are also supervised by us, such as orientating light onto artwork to ensure correct distribution and light levels.

10.2

Commissioning - Control Systems

34

Of course, controlling the lights needs to be done by adjusting the control system which has been installed. On residential projects, dimming is a critical element of controlling lights, therefore we always recommend the entire site is linked to, and controlled by, a central dimming system. After commissioning this system, we upload a default version of the software so that at the hand-over at Practical Completion the client has a fully operational system enabling the home owner to use the house.

This is not the end of our involvement: a few weeks after the client has taken up residence, having allowed them to become accustomed to the house, we return to site to make the first draft of changes to scenes they require. Then, perhaps after many months, we return for a final visit to execute further variations to the system they want to make. On some projects, the client wishes to make even more changes, perhaps as rooms change their function - perhaps a child’s bedroom being converted into a gym? This is relatively easy to do with the flexibility of a central system.

Simple sequencing..Ground floor perimeter lit.

Slideshow 4 - Private Residence, Oxfordshire

10.2

Completion

35

Having completed the commissioning, the scheme should be ready for Practical Completion. We generally attend site long after this point of the contract, as some lighting elements are only installed once all the decoration has been completed....often we are the last people on site making final adjustments with the client.

For us to reach what we classify as completion this can, on some projects, be well after Practical Completion has been signed off. This is especially true on large residential projects; our programmers could be attending a complicated installation a year after completion, in order to make final adjustments to the way the control system is set up. This sounds like an inordinate length of time, but it must be remembered that our service is personal, and some clients work on a long time frame. Our involvement will last for as long as is required.

“VBK not only created a great lighting scheme for us but also, of equal importance, were incredibly responsive to any necessary changes due to the house changing, and the inevitable teething problems when we moved into the house” Mr & Mrs Pridgeon | Private Clients

The final scene-setting is crucial in reaching the exact lighting levels envisaged during the design process. For external projects that can mean setting up lighting scenes well into the night. Adjustments are so precise that it would be impossible to programme these off-site and hope to reach a satisfactory result. The human eye is so sensitive to variations in illuminance and contrast in colour temperature that completion requires the visual assessment rather than relying on calculations.

CHAPTER 11

COMMENDATIONS

VBK has featured in various Architectural and Lighting magazines, while Max has been interviewed for BBC Radio 4, featured on BBC Radio 3, and a BBC 2 documentary on Lighting at the Tate Modern.

DeROSEN DEVELOPMENTS | MALLORCA

“We are always very happy with the work you and your team undertake for us. We would not keep coming back if it were not the case. We greatly appreciate the level of service and professionalism in making sure everything works as intended”

MD | Krimson Developments Limited

nientes directamente de las lámparas, de las luminarias,

sino también de los materiales. Materiales reflectantes como

el mármol, la piedra pulida, los suelos pulidos o el cristal

pueden suponer un gran problema; no insalvable pero com-

plican terriblemente las cosas. A estas limitaciones se aña-

den las que el propietario de la pieza pueda añadir. Depen-

diendo de la antigüedad del objeto y del material del que este

hecho, la luz ultravioleta puede ser, es, de hecho, un gran

problema, al igual que los infrarrojos y el calor. El calor es

posible el mayor de todos porque es un catalizador.

Los sistemas de luz fría, como la fibra óptica, han aportado

grandes soluciones en el la iluminación de exposiciones.

¿Cuáles son las situaciones ideales para su aplicación?

Cuando se quiere conseguir una iluminación local proyectada

desde una distancia limitada, como puede ser el caso de las

vitrinas o aparadores, espacios cerrados que requieren de

una luz fría que no proporcione calor.

En el proyecto de la National Portrait Gallery de Londres

utilizaste un complejo sistema de iluminación que mereció

el premio National Lighting Design Award. ¿Qué puedes

contarnos de este proyecto?

Las luminarias no eran nada complejas, de hecho eran bas-

tante sencillas. Lo que resultaba complejo era el posiciona-

miento. Las obras de arte estaban montadas sobre un panel

de vidrio enfrentado a otra pieza también de vidrio. Este

material fue el gran problema ya que la luz se reflejaba sobre

las dos piezas. Alguien situado en uno de los lados observaba

dos reflejos provenientes de la lámpara, mientras que la

situada en el lado opuesto recibía además la luz directa. Por

ello, tuvimos que dirigir la luz solo a los cuadros y asegurar-

nos que no llegara a los paneles de vidrio. La ventaja de ilu-

minar de esta forma es que se eliminan las sombras en el

suelo, lo que hubiera resultado visualmente poco estético.

Sin embargo, el problema lo trasladamos al objeto ya que

entonces los aparatos debían ser de gran tamaño y no dema-

siado atractivos. La solución la encontramos diseñando un

techo que oculta toda la estructura, los raíles y 400 spo-

tlights. Al entrar en la galería la visión es muy limpia y no se

ven las luminarias.

3938

previas que nos indiquen cuanto trabajo, esfuerzo o energía

será necesario. Depende totalmente del proyecto.

En el ámbito comercial el iluminador es fundamental, aun-

que cuanto más utilitario es el proyecto, más sencillo resulta,

por que hay toda una regulación a la que atenerse y no se

trata tanto de conseguir un resultado estético, de diseño. En

un aeropuerto o una estación de ferrocarriles las opciones

son limitadas. En un restaurante, en cambio, puedes hacer

todo aquello que quieras. Depende de la arquitectura, del

cliente e incluso del usuario final.

¿Arquitectos y diseñadores de iluminación deben trabajar

de forma sincronizada?

Sin duda. Para que un consultor de iluminación lleve a cabo

el mejor trabajo posible con un arquitecto o diseñador de

interiores es necesario que se implique en la fase concep-

tual, no solo a nivel de acabados, sino también en el diseño

de la estructura. Hay un gran número de detalles de gran

importancia, ¿hacia donde se van a abrir las ventanas? ¿al

norte, al sur, al este, al oeste? ¿dónde está situado el edifi-

cio? ¿en Noruega o en Oriente Medio?. El control de la luz

natural tiene un impacto importantísimo a la hora de diseñar

la iluminación.

¿En los museos y espacios expositivos la luz es esencial

para crear emoción?

En museos y galerías es, incuestionablemente, el elemento

más importante. Particularmente cuando hablamos de obje-

tos que ofrecen restricciones con la luz, el calor y los ultra-

violetas. Porque la luz ambiental del espacio, es decir la luz

que vemos, la de la habitación, del suelo, del volumen del

espacio, es normalmente suministrada indirectamente por la

luz de los objetos expuestos. Y como la luz de los objetos

debe estar muy controlada, la respuesta es si, es un elemen-

to muy importante. Normalmente, en un museo un 20 o 30%

del presupuesto se dedica a la iluminación, cuando en una

residencia representa un 5%, o máximo, un 10% del total.

¿Qué elementos son los más importantes a la hora de ilumi-

nar una pieza de arte?

Supongo que depende del nivel de iluminación ambiental. El

control de los brillos es muy importante, no solo los prove-

GRAND PALAIS. Paris

En la exposición temporal Antigüedades de los siglo XVII al XIX, llevada a

cabo en el Grand Palais de los Campos Elíseos de Paris, el objetivo era

acentuar la calidad de los materiales de los objetos expuestos. La ilumina-

ción utilizada permitió crear una atmósfera muy dramática manteniendo, al

mismo tiempo, unos niveles bajos de rayos ultravioletas para minimizar la

degradación que esta radiación provoca en las superficies.

La exposición más amplia de objetos y artefactos relacionados con la reina

Elizabeth I se iluminó mediante spotlights dimerizables y proyectores de

encuadre suspendidos de un carril. Los objetos más delicados se situaron

en vitrinas, para preservarlos de un posible deterioro, y se utilizaron pane-

les difusores y sistemas de fibras ópticas. VBK trabajó conjuntamente con

el diseñador del museo para definir los colores de las paredes de forma

que la atención se focalizara en las obras de arte que por su valor y fragili-

dad debían mantenerse iluminadas a unos niveles extremadamente bajos.

NATIONAL MARITIME. Greenwich

a u g / s e p 2 0 0 6

VBK are an award winningindependent lighting consultan-cy currently working on projectsin the UK, Italy, France, Spain,and the US. Previous workranges from Museums,Galleries, Restaurants,Commercial and Residential.Founded by Max and Angelavon Barnholt in 1997 their workencompasses museums andgalleries, utilities, restaurants,and commercial projects. Bothfrom artistic backgrounds theyapproach design with aesthetic

as a lead, but are keen to stressthat practicality as well as theapplication of technical knowl-edge is the key to a successfulscheme.Their overriding belief is thatlight be anonymous, sacrificingits identity to benefit the subjectbeing represented, whether thatbe architecture, exhibits or mer-chandise. Max comments,“Thevery purpose of applying light isto appreciate other forms andperform other tasks. Light is afacilitator, and if we are allowed

to be creative while satisfyingthat function, then, the consult-ants role becomes more designled. That is where the joy comesinto the job, but nevertheless wemust not forget that the primaryfunction we are called upon tofulfil is providing objectiveimprovements to the built envi-ronment. When one gets carriedaway with applying light as anart form, not only do we forgetthat prime objective, but I wouldargue that our built environmentis tarnished.”

Max von Barnholt, lead designerand director, prefers to getinvolved in the architecturalprocess at an early stage of aproject in order to affectchanges to the fit-out design asthis can assist in the conceal-ment of lighting hardware. “Wetend not to use much in the wayof factored products unlessaccent lighting is required.Instead we prefer to incorporatelamp sources within bespokestructures, or into the fabric ofthe building. Cold cathode,

28

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E N G L A N D

Camino de Ibiza, donde está desarrollando el proyecto de una resi-

dencia enclavada en el interior de una colina, Max von Barnholt se

detiene en Barcelona para conversar con nosotros y mostrarnos

algunos de sus trabajos. No ha sido fácil, pues este atareado con-

sultor de iluminación inglés se mueve constantemente entre Gran

Bretaña, Estados Unidos, España, Portugal e Italia, llevando la luz

a museos, galerías de arte, oficinas, hoteles, restaurantes y resi-

dencias. Fascinado por su profesión, reconoce que la iluminación

es una parte esencial en cualquier proyecto ya que permite apre-

ciar la forma en todas sus dimensiones, pero, insiste en que el

suyo es un trabajo casi siempre anónimo que sacrifica su identidad

en beneficio de la arquitectura.

Max von Barnholt

"La luz es la co m pañera anónima de la arquitectura"

En la imagen, Max von Barnholt sentado en la galería

de arte contemporáneo de la empresa Concord Ligh-

ting, donde instaló un complejo sistema de raíles

para iluminar las exposiciones temporales, junto a la

escultura Monument to Joy de Andrew Logan. La luz

proyectada desde distintas direcciones sobre la

escultura, formada por pequeños espejos, provoca un

interesante baño de reflejos sobre paredes y suelo.

Por Esther Torelló

En la imagen, Max von Barnholt sentado en la galería

de arte contemporáneo de la empresa Concord Ligh-

ting, donde instaló un complejo sistema de raíles

para iluminar las exposiciones temporales, junto a la

escultura Monument to Joy de Andrew Logan. La luz

proyectada desde distintas direcciones sobre la

escultura, formada por pequeños espejos, provoca un

interesante baño de reflejos sobre paredes y suelo.

www.vbklighting.com

11.1

Awards & Editorial

37

Max has been recognised with the following awards:

Lighting Design Awards | Parliament View, Westminster NAS Design Award | Victoria & Albert Museum Lighting Design Award | The Groucho Club LIF Distinction | Heveningham Hall, Suffolk EC Design Award | Grand Palais, Champs Elysees, Paris LIF Award | Bodleian Library, Oxford LIF Award | National Portrait Gallery, London

VBK was also selected by the Architects Journal as “Leading Lights”, a feature on the most dynamic Lighting Designers in the field.

68

Elegante eficiencia energética

Por Esther Torelló

www.vbklighting.com

El proyecto de iluminación desarrollado en una lujosa residencia en Cap de Formentor demuestra que la eficiencia energética no está reñida con el diseño y el confort.

Ca’n Rosen, Formentor, Mallorca.

Vista nocturna de la espectacular residencia privada situada en un acantilado de Cap de Formentor,

al norte de Mallorca.

40

tarse a las necesidades del cliente. Pero lo ideal es diseñar el

proyecto óptimo y trabajar a partir de aquí.

Consumo

Esto punto es tan sencillo de calcular como el anterior: si

una habitación se usa constantemente, las fuentes de luz de

bajo consumo deben tener una posición prioritaria a la hora

de seleccionar las lámparas. Pero si la habitación se usa solo

de vez en cuando o unas horas al día, es posible proponer

soluciones más creativas, con un mayor enfoque en efectos

estéticos que en la minimización de costes.

La importancia del consumo de Energía

En el Reino Unido, los prescriptores tenemos la complica-

ción añadida de las Pautas de la Conservación de Energía

que el Gobierno ha establecido. Una proporción sustancial

de un nuevo edificio (o una renovación extensiva) debe

cumplir con las restricciones de consumo de energía, que

prohíben específicamente el uso único de lámparas incan-

descentes. Debemos instalar una proporción de lámparas

que proporcionen por lo menos 40 lúmenes/ watt circuito.

¡Imagínese la reacción de los clientes cuando se den cuenta

de que las regulaciones les obligan a iluminar la mitad de

las habitaciones de su casa con lámparas fluorescentes!

Aunque estas pautas limitan nuestra libertad al seleccionar

las lámparas, las apruebo totalmente porque fuerzan al

diseñador a enfrentarse con el uso imaginativo de métodos

modernos, algo que la industria debería haber empezado a

hacer hace mucho tiempo. La culpa de esta aplicación indis-

criminada del gobierno la tienen los constructores, arquitec-

tos, diseñadores de interiores y propietarios que ignoran los

beneficios de las fuentes de descarga. Por mi parte, me ale-

gra, porque anima al equipo de diseño a usar la experiencia

de un consultor de iluminación. Utilizamos las lámparas de

descarga desde hace mucho tiempo de manera que propor-

cionen la mejor solución a un problema en particular.

Otro beneficio evidente al limitar la cantidad de lámparas

ineficientes dentro de un espacio es la reducción de un

incremento termal. Aquí, en la fría y lluviosa Inglaterra no

lo notamos tanto, pero en el Mediterráneo, y por supuesto

en Oriente Próximo, es un punto importante en la lista de

prioridades.

CHAPTER 12

CREW

The VBK team has over 70 years combined experience in the Lighting Design Industry. As individuals we have worked on Airports, Power Stations, Hotels, and Civic Buildings, including Big Ben at the Houses of Parliament, the Millennium Dome Project, and Heathrow Airport.

BELSIZE PARK | LONDON

“Having worked with VBK on high profile projects I cannot praise too highly the professionalism and dedication of the VBK team led by Max. Our recent project in Formentor is a masterpiece of lighting design”

Tim de Rosen | de Rosen D&B

12.1

The Team

39

Max von BarnholtFounder and Project Director.Max generates concept designs and manages project on site.

Angela von BarnholtFounder and Lighting Designer. Angela produces concepts and creates bespoke luminaires.

Claire MorpethProject Manager and Specifications writer. Claire runs the office, in charge of documentation.

Tallulah PyeProject DesignerTallulah carries out designs on projects with clients

Anthony HumphreyProgrammerTony is responsible for Control System Design and Programming.

Duncan WallaceOperations Director, ScandinaviaDuncan runs operations in Scandinavia from Copenhagen.

John McCarthyElectrical Installation supervisor.John carries our specialist electrical works.

VBK is a flexible team of individuals, each with specific talents targeted to various areas of a project as required. Every project will have involvement from us as a collective, with none of us working on a project in isolation. This way we feed off each others’ ideas, and can input knowledge and expertise to realise the potential of the scheme. With at least 3 of us involved on every single project, there is always someone here with whom you or your colleagues can discuss your project should the need arise.

Work should not be a burden, and maintaining a small team means we can keep control of the business, rather than allowing the business to control us. We never take on more projects than we can sensibly handle, so we shall always be able to attend to your needs on time. That said, because we have projects which run for up to 6 years, we seek to arrange a disciplined regime of meetings; our diary always has appointments booked in a year in advance.

12.2

Future Talent

40

We are active in the promotion of Lighting Design, as well as environmental issues related to the industry. Max delivers lectures to various universities and colleges as well as presentations to conferences and expos.

VBK also offers apprenticeships and work placements to students, with those selected attending site meetings to experience the real world of architectural design, not simply placed at a drawing board, or computer; we firmly believe in learning by practical experience. Some of Max’s students are now fully employed in the lighting design industry, working for design companies; in one case running their own practice. This is the source of considerable satisfaction, knowing that we are inspiring future generations to work in this field. Learning by imitation is easy but unfulfilling as it does not prepare one for unique problems and obstacles which arise; in order to truly understand one has to experience.

CHAPTER 13

CONTRACT

MILLENNIUM GALLERIES | SHEFFIELD

“Everything was in danger of falling apart until VBK came on board. They sorted out the Lighting Design, produced all the necessary information for the local builders, easing their nerves about such a complex system. VBK sorted out everything with the manufacturers, getting all the equipment to site on time. They managed everything from design, supply and execution..great”

Antje Geczy | Chateau Puyvigier, Bordeaux

We retain our independence, free to specify from each and any manufacturer which we consider offers quality, performance, reliability and service. Our contract to design in no way influences any contract to supply.

13.1

Salesmen or Designers?Having been specifying OEM goods over 4 decades, it is obvious that Max and Angela have developed considerable contacts within the industry, and VBK can therefore, more often than not, gain a preferential discount from these manufacturers, which we are happy to share with our clients. If you wish to take advantage of this, we recommend that you maintain a line of supply from your installers as they should retain responsibility for the project, so unless you already have an agreement whereby goods are ‘free-issue’, you should organise the contractor to procure from us, with an agreed margin for their associated management and risk.

Before you appoint any designer or an AV consultant, you should investigate the level of their independence. The only products which need to be procured from us are those systems which are integral to our implementation such as control systems, or products for which we have to take installation responsibility for, such as bespoke fibre systems. Everything else should be possible to procure through your contractor.

42

Many lighting design companies offer a design service purely to gain a foothold in a project in order to sell their own products, or those from a manufacturer with whom they have a contract agreement.

You are under no obligation to procure luminaires from us, indeed, as independent design consultants, we must have the freedom to specify a product from any manufacturer, and doing so, you can be assured that if we specify a product, it is because that product is best for the application, not because it offers a profit to us. If you procure through the usual channels we will gain no benefit other than ensuring our scheme is properly realised. This is our first remit and any supply is secondary to that.

CHAPTER 14

CONTACT

We hope that we can also assist you in realising your own project.

If you wish to discuss how we can help you, please contact us by any method and we shall be happy to develop a proposal.

WELLCOME TRUST GALLERY | LONDON

“A pleasure to work with; A welcome relief to find a lighting designer who can produce details and avoid problems by thinking ahead”

John Ronayne | Ronayne:Design

14.1

Contact Details

44

Correspondence address: VBK Lighting Consultants Ltd 1-3 Church Road Herstmonceux East Sussex BN27 1RB

Tel: 01323 833 444 Fax: 01323 833 484 E-mail: claire@vbklighting.com Website: www.vbklighting.com

Our studio is based in the heart of the East Sussex countryside, near Herstmonceux Castle. The tranquility offers a calm working environment in contrast to the pressure and frenetic pace of site meetings. If you wish to pay us a visit to discuss your scheme, you are likely to be seated in the garden surrounded by beehives rather than in the offices. Our organisation and work ethic has us responding quickly

to the developing design to ensure that we never cause a delay to the project. While most of our time is spent away from the office on various sites, we assign every Friday to be at our desks to complete the documentation of the week’s meetings.

CHAPTER 15

CREDITS

We would like to thank all those people without whom our work nor this folio would be possible:

Alibaz SA; Ampersand/CEG; Miguel Arenas; David Bentheim; Courtauld Institute; Flood Design; CZWG; Mr & Mrs Geczy; Grand Palais, Paris; Mr & Mrs Hall; HMB Architects; Carlton Hobbs; Mr & Mrs Hruska; Adrian James; Martin Lane-Fox; Lutron EA; MILK Studios; Nick Moore; National Portrait Gallery; National Grid; National Maritime Museum; OLF; Mimi Parsons; Mr & Mrs Pridgeon; John Ronayne; Tim de Rosen; David Rosenzweig; Science Museum; Tom Siebens; Solmar Finance; Tate Gallery; Diego Trolliet; V&A Museum; Wagamama Restaurants; WCML; and the Wellcome Trust.

NATIONAL PORTRAIT GALLERY | LONDON

“We have had the pleasure of working with VBK on a dozen projects throughout Europe. Whatever the brief, they have proven their ability to deliver creative lighting solutions. Professional and flexible, they work well with designers and contractors, and most importantly from our perspective, they generate proper and detailed documentation which we can access any time.”

Nick Moore | AV:Matters Ltd