And there was light: but carefully controlled [
THE LIGHTING of ecclesiastical and heritage buildings is one of the subjects this publication has returned to again and again – with good reason: it is a dynamic industry that has transformed both places of worship and our built heritage. In churches the ability to see what was going on and – as literacy bloomed in the 18th and 19th centuries – read the hymn book and service sheets enabled the population at large to take part in services as never before. Later, lighting schemes were developed to highlight features within the church. Now, electronic controls have enabled church services to become dramatic and musical events. In heritage buildings lighting has followed a similar path. From illuminating the contents to dramatising the building’s historical context, lighting schemes have become ever more sophisticated. With such buildings, however, there need be no rush to replace with modern lighting. In many cases, existing lights can be reused and may, indeed, be part of the heritage of the building. Historic England has this to say about the subject: “Any examples of early gas or electrical light fittings that have survived should, wherever possible, be left in position and form a part of the new lighting scheme, if feasible.” For people with a visual disability a good lighting scheme can
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boost appreciation of a place, providing it does not cause glare. The Pocklington Trust publishes advice on lighting design with visual impairment in mind. Outside, lighting schemes have also developed apace. In the 1970s ‘son et luminaire’ presentations were widely advertised and were major events. Now, external lighting of churches and historic buildings can be manipulated at the touch of a button. Historic England offers a caveat: “It should be remembered that external lighting can not only augment the view of a historic building, but if done badly can produce the opposite effect by enhancing the negative aspects. A building or location is like the face of an old friend; depending upon how the lighting is chosen and located it can produce either flattering or unflattering results.” A relatively modern concern is the effect of light pollution on the environment. Harrods London Historic England says: “Any scheme must not only illuminate but make the building or place more interesting, assist in making visitors feel safe by putting people back at the centre of all public spaces, help tell a story, boost the building or area’s identity and assist visitors in appreciating the night by only using light where needed.” The advice seems to be that, as with many things in life, the essence of a good lighting scheme is careful control. q
