7 minute read
Lighting the Legends
Studio ZNA Illuminates London’s National Portrait Gallery
By Randy Reid
Photo credit: Gareth Gardner
The concept of a portrait gallery dedicated to a nation's most famous faces was groundbreaking when it began in 1856. Since moving to its current location at St Martin's Place near Trafalgar Square in 1896, London’s National Portrait Gallery has grown to house around 11,000 portraits in various media, from paintings and photographs to busts. The building, which has been extended multiple times, now spans three stories, accommodating both the permanent collection and a dynamic program of special exhibitions.
After three years of extensive redevelopment, the Gallery has reopened with a stunning transformation. At the heart of this renewal is Zerlina Hughes, Creative Director at Studio ZNA, whose lighting design has redefined the visitor experience for the Inspiring People project, as well as temporary exhibitions like The Paul McCartney Photographs 1963–64: Eyes of the Storm and Yevonde: Life and Colour
During our conversation, Hughes shared that Studio ZNA collaborated closely with Nissen Richards Studio, who served as the Gallery’s Interpretation Designer, and project architect Jamie Forbert Architects Max Fordham oversaw the mechanical, electrical, and plumbing (MEP) systems. Hughes’s team was specifically brought on board to handle the lighting design for the gallery spaces, while Fordham managed the lighting for all other areas. Hughes explained, “Their daylight model informed the display elevations, ensuring they met the gallery’s conservation needs in partnership with the designers.”
A Vision of Light and Accessibility
One of the primary goals, Hughes explained, was to make art more accessible and engaging for all visitors by creating a welcoming and inclusive atmosphere. The building, a landmark of British cultural heritage, required a nuanced approach to lighting to enhance the artworks’ richness while preserving their integrity.
A series of interconnected rooms reflects the vision of Dr. Nicholas Cullinan, the former Director of the National Portrait Gallery and now Director of the British Museum. “He wanted to open up the galleries in terms of views, accessibility, and diversity, but also to the light, allowing connections to be made between different spaces and times,” Hughes explained. A significant part of this vision was to introduce more natural light, fostering connections between the artworks, the space, and the visitors in a more dynamic and engaging way.
Blending the Old with the New
The visitor journey begins on the second floor, where the Tudor galleries feature intimate portraits of Queen Elizabeth I and other prominent figures of the 16th century. These works are displayed in jewel-like rooms devoid of any daylight, utilizing rich gold hues to enhance their historical significance.
Visitors encounter a series of classical galleries with top-lit roof lights, where artificial lighting subtly blends with natural light during the day. For the new permanent collection, Studio ZNA employed precise lighting techniques using Palco indoor spot luminaires from iGuzzini The luminaires, set at 3000K, highlight the gold frames and vibrant colors of the artworks, adding a sense of warmth rather than attempting to replicate daylight. The fixtures are cleverly concealed within the architecture, enhancing the visitor's experience by keeping the focus on the art rather than the lighting itself.
“We used super spot optics with a dedicated eight-degree beam angle to light sculptures without causing shadows, even when people stand in front of them. This allows us to maintain the integrity of the pieces without visual disturbances,” Hughes detailed. By carefully adjusting the angle, light spill is minimized, and unwanted illumination in tight corners is prevented, effectively eliminating shadow issues.
To further prevent shadows, lights are positioned at acute angles, typically around 30 degrees, rather than directly above. This approach uses key lights, similar to film lighting, where a primary light is complemented by fill lights to soften shadows that would otherwise form around features like the eyes and nose of a bust. The beam of light is small and highly controlled, providing a soft, diffused effect rather than a harsh spotlight.
Innovative and Sustainable Approaches
In keeping with the Gallery’s long-standing commitment to innovation, technicians quickly recognized that ERCO’s LED technology could significantly reduce energy and maintenance costs while maintaining high lighting quality. The existing ERCO track and singlet lighting systems served as a foundation for testing LED spotlights in selected areas.
The lighting had been retrofitted to LED approximately ten to twelve years earlier, but it needed to be upgraded for efficiency and improved color rendering. The trial with new LED technology proved highly successful, achieving a 68% reduction in energy consumption. Following this, the museum began retrofitting additional rooms as curators and conservationists approved the transition after thorough testing.
The lighting solutions implemented include ERCO 14W Optec LED spotlights equipped with Spherolit lenses, offering various beam characteristics. Iguzzini’s Palco, Stoane Lighting’s ZTA.50. Mains Track, PROLIGHTS’s EclGalleryProfile, and Selecon’s Accent BeamShapers were also specified. The warm white LED light, free of infrared and ultraviolet components, ensures optimal conservation of the exhibits, showcasing how modern lighting technology can effectively preserve historical artworks.
Studio ZNA's design also addresses the needs of more lightsensitive pieces. Letters and studies newly displayed in bespoke showcases are carefully positioned away from direct daylight, with internal lighting tailored to their specific requirements. The conservation team at the Gallery was deeply involved throughout the process, working closely with Hughes to ensure all conservation requirements were met without compromising the visual appeal of the displays.
Hughes highlighted the importance of sustainability and flexibility in their design approach. “We don't over-specify in terms of power. Each unit must work really hard, providing different performances as needed. We also focus on the circular economy by choosing fixtures with long-term guarantees and the ability to replace individual components rather than the entire fixture.” The use of Bluetooth controls, especially in temporary exhibition spaces, allowed for rapid adjustments and minimized the need for physical access, protecting the artworks and maintaining the Gallery’s aesthetics.
The Studio ZNA team collaborated closely with the conservation team throughout the entire process, from concept development to final installation. Curators played a crucial role in reviewing the designs, particularly for the showcases with miniaturized fittings, which house some of the most delicate items. Hughes presented concepts and samples, conducted tests, and ensured everything met rigorous standards to guarantee that the objects not only look exceptional but also adhere to all conservation requirements. “Our relationship with the conservation team was collaborative and supportive—we shared a common goal of preserving and presenting the artworks in the best possible light,” Hughes explained.
Collaboration and Commissioning
The project, which began in 2019, faced several challenges, including the COVID-19 pandemic, which required adaptable solutions and close collaboration with contractors. Studio ZNA remained hands-on throughout, directly overseeing the commissioning to ensure their vision was fully realized. “We are a very hands-on team and take full responsibility for the commissioning process. We handle it personally because we are deeply invested in maintaining a consistent vision throughout the project,” Hughes stated.
Expanding the Legacy
In addition to lighting the permanent collection, Studio ZNA collaborated with retail design experts Alex Cochran Architects to create new retail spaces within the Gallery. Their innovative lighting design continues to support the Gallery's mission of making art accessible and engaging.
Reflecting on the project, Hughes emphasized best practices for lighting designers working in museums: prioritizing LED technology, considering conservation needs from the outset, and ensuring a harmonious relationship between lighting and the objects it illuminates.
Studio ZNA's work at the National Portrait Gallery sets a new benchmark in lighting design, blending innovation with respect for heritage. As Hughes put it, “Our role is to contribute indirectly to the dialogue between history and contemporary audiences, creating connections through light that transcend time.”
Studio ZNA collaborated with the following designers and architects throughout this project:
• Max Fordham – MEP
• Nissen Richards Studio – Interpretation Designer
• Alex Cochrane Architects – Retail Designer
• Jamie Forbert Architects – Project Architect
• Purcell – Heritage Architect
• Nicholas Cullinan – The Director of the National Portrait Gallery
• The Curatorial Team at NPG
