The layered, integrated and discreet new lighting scheme within Exeter College’s dining hall at Oxford University has ensured its magnificent portraits can be properly celebrated and appreciated.
By Richard Bolt
Established 711 years ago, Exeter College is Oxford University’s fourth-oldest college and, indeed, has occupied its present site in the city since 1315, the year after it was founded by Walter de Stapeldon, Bishop of Exeter (hence its name) and treasurer to Edward II.
As part of the interior refurbishment of the college’s historic dining hall, we were appointed to develop a sensitive new lighting scheme that would enhance the functionality and character of the space, while preserving its rich heritage.
Concept design work for the project commenced during spring 2021 (post the Covid lockdown of that year) and implementation and installation was completed during the summer of 2024.
Of particular importance to the college was the need to significantly improve the illumination to the portraits in the dining hall, which had become lost within the space. The ambition was for the lighting design to craft a flexible and atmospheric interior, given that it is used for a wide variety of functions, everything from daily meals to formal dinners, weddings, and university events.
EXTENSIVE TRIALS
To that end, extensive lighting trials were undertaken during the design stages to explore how to most effectively achieve a layered lighting effect, the best equipment to use, and – especially important given the sensitivity and history of the space – the most suitable placement.
This whole testing and design process, naturally, involved close collaboration and discussion between the college stakeholders, architects Jessop and Cook, and the dpa team.
The result, I am pleased to say, has been stunning. Multiple lighting layers have been neatly integrated with minimal visual impact and disturbance to the building’s fabric, all controlled via a programmed palette of architectural lighting scenes.
Of particular significance was how we lit the portraits at the east and west ends of the dining hall. These have been illuminated with discreetly positioned low-glare track-mounted spotlights at high level, with optical distribution and intensity remotely controlled for ease of focusing and balancing the light.
From the same location, additional spotlights illuminate the high table and gallery to support flexible scenes for events and performances. Custom, stem-mounted fixtures along the north and south walls have been used to illuminate both upper and lower portraits using existing wiring.to illuminate both upper and lower portraits using existing wiring.
Concealed linear uplighting then adds a warm ambient glow to the roof structure. Additional uplighting to window reveals and stone mullions articulates the architectural rhythm, subtly highlighting the carved stone bosses and gargoyles, adding a touch of drama.
Linear lighting to the west arch windows and timber panels, and spotlights aimed at the college crest and carvings, further depict the hall’s character and storytelling, together with the lit fireplaces and stone mullions to the north bay window.
The existing dining table lights were retained but enhanced with warm-dim lamps. These offer a dynamic shift from crisper functional lighting ambience during the daytime to a softer, candle-like glow for evening settings, further enriching the building’s timeless charm.
ACHIEVING A BALANCE
The principal challenge from a lighting perspective was the east and west elevation portrait lighting, as highlighted earlier.
Here, we had to balance the need for neat integration with unobtrusive and suitably scaled equipment, addressing intensity, ease of aiming (pan and tilt) and the need for carefully controlled low-glare optical distribution, whilst minimising veiling reflections. All lighting was connected to the architectural scene-setting system, which has also, of course, ensured that it is easily programmed.
To that end, remote-controlled lighting and track-mounted spotlight fixtures, from RCL, were trialled and employed to address the above design challenges. These were positioned at high level behind the roof structure, with optics, aiming and intensity all selected from the ground in tandem with the lighting control system and programmed lighting scenes. A temporary scaffold platform was constructed for periodic maintenance.
A further challenge was that, because of the periodic interchangeability of the portraits in terms of location and type, a flexible lighting solution was required.
As well, therefore, as the track-mounted spotlights used to illuminate the east and west elevations, for the north and south portraits a bespoke rod-mounted dual-headed fixture was developed between dpa and LightGraphix.
This includes an integrated switch so that individual spotlights can be turned off in the event of a portrait no longer being hung in that location. The existing wiring, again, was repurposed and dimmer packs (from RAKO Controls) were integrated and connected to the lighting control system.
RAKO dimmer pack modules were also fitted to the existing dining table lamp cabling and plugged into 5-amp sockets. These, in turn, were connected to the RAKO control system.
LEARNING POINTS
What, then, are my takeaways or learning points from this scheme? As well as the tips outlined overleaf, for me it is the value of undertaking extensive lighting trials.
This is particularly important when you are working with historic buildings to enable you truly to understand the spatial and material characteristics of the space, the light distribution, concealment and integration opportunities, and viewing angles.
One practical lesson that we’ll undoubtedly apply to future projects like this was around the aiming of the concealed linear uplighting to the roof structure. While this was, quite rightly, undertaken when the main scaffold platform was in place, a section of lighting then lost its position after we had completed this part of the scheme.
Unfortunately, we only discovered this after the scaffold had been struck, so the opportunity (at least for now) has been lost to correct this. Therefore, it would have been prudent to have been present just prior to the scaffold being removed to finalise the aiming.
The college has also experienced issues with the table lamp warm-dim synchronisation, which have been addressed. Plus, there is an ongoing maintenance issue with regards to the north and south elevation portrait lighting not fully functioning, which is being investigated by the electrical contractor.
Such niggles aside, overall, we at dpa are pleased to say the scheme has been a great success. The dining hall has been successfully relit for the college and users of the space to enjoy, with the building’s character enhanced and portraits brought to life.
The lit composition is particularly tangible when viewed at night from the exterior quad, with the north elevation curated with a warm residential quality of light. The variety of lighting layers and scenes accommodated within the scheme are particularly appreciated.
Richard Bolt is a partner at dpa lighting consultants
This is an abridged version of the article that appears in the October edition of Lighting Journal. To read the full article, simply click on the page-turner to your right.
Image: dpa lighting consultants
