my IMPACT

IM PA CTRESEARCH: CHANGING LIVES

LOCALLY AND GLOBALLY

my

Malcolm InnesR&KE

“It is hard to exaggerate the importance of thoughtful, high quality lighting design”, says Dr Lorna Ewan, Head of Visitor Experience, Content & Learning at Historic Scotland. She continues, “So often lighting design is treated as the Cinderella skill - frequently subsumed into the role of architect or mechanical and electrical engineer, its immense importance only recognised once it is too late.”

My current research and knowledge exchange work is built on the foundation of 20 years of professional practice at the highest echelons of architectural lighting design. Examples of my multi-award winning work can be seen throughout the world.

The critical and reflective skills I developed in business have now been applied to my academic practice, and this document showcases some of the work I have been doing at Edinburgh Napier University since December 2011.

Malcolm Innes lighting design practice, research and education

Malcolm Innes, July 2014

Research & Knowledge Exchange Selected Projects in

Royal Lyceum Theatre, Innovation Voucher, 2013 Leaving Planet Earth, Grid Iron Theatre, Edinburgh Festival 2013

Professional Lighting Design Convention, Copenhagen 2013

Lights in Goa Conference, India 2014

Novel uses for digital projection to interpret historic sites !status:completed dates:Dec ’11 - Mar ’13 !funder: Historic Scotland !value: £ 43,512 !project type: Research Commission

Elgin Cathedral Phase 1

Historic structures, architecture and artefacts that remain from past ages give us an amazing insight into what life was like when these objects were first built. However, our image of the past is often missing an important feature - colour.

We see artefacts such as elaborately carved stonework and effigies with a bare stone finish and we assume this is how they always looked. Our mental image of the past is often black and white, but the past was more colourful than we imagine.

With the loss of the fragile patina and colourful paint finishes from so many carved objects, we have lost an important understanding of what these object used to look like.

I created this research project to examine how digital projection, directly applied onto three

dimensional artefacts, can open up new interpretation opportunities that encourage viewers to examine the original artefacts more closely.

Close examination of the Bishop’s Effigy form Elgin Cathedral reveals the remnants of paint finishes that originally covered the entire object.

Traditional printed and digital interpretation methods would use two dimensional displays with artists renders to give some sense of the original colouration, but the nature of the 2D artwork display disconnects the viewer from the object.

Whilst it is not practical or desirable to permanently restore the original finishes, digital projection can give visitors an insight into what this effigy would have originally looked like. This project was grant funded by Historic Scotland.

Page �4Research and Knowledge Exchange

Novel uses for digital projection to interpret historic sites !status:live project dates:Mar ’13 - Mar ’16 !funder: Historic Scotland !value: £24,931 !project type: Research Commission

Elgin Cathedral Phase 2

Following on from my research activities carried out in Phase 1 of the project, Phase 2 will see the implementation of the proposals as part of a permanent redevelopment of the whole exhibition suite at Elgin Cathedral.

Richard Firth (CDPR) and I will provide the exhibition design for the entire site along with the content creation for the novel digital projection system. Site works will be carried out by experienced contractors approved by Historic Scotland. The results of this stage will be around 8 display rooms of artefacts that are interpreted using passive and digital techniques developed through earlier research. This will be a permanent display and will be open to the public.

On completion, a visitor study will evaluate the techniques used. Study results will be collated and analysed

to provide data that reflects the research questions. The study will be used by Historic Scotland to plan enhancements for future projects.

The project will also use passive optical devices to improve the visitor experience. This work has wide applications for remote archaeological sites, where it is difficult to install powered devices, passive devices such as a box camera obscura can be used to overlay historical content onto the contemporary view.


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output expected

to be suitable for

Enhancing the visual brightness of gallery exhibits !status:Complete dates:2011 !funders: Mike Stoane Lighting (UK) Xicato (US) Malcolm Innes Design (UK) !!project type: Personal Research

Many museum and gallery exhibits are fragile objects that do not survive repeated handling. It is generally frowned upon for visitors to touch any exhibits. As a result, vision is by far the most important sense for museum visitors. I am respected for my knowledge and creativity in using lighting to visually enhance and also conserve all types of exhibits.

In basic terms, good vision normally requires high illuminance. However, the bright light that allows us to understand the intricacies of an exhibit can also damage it. Organic materials are damaged by exposure to ultra violet, infra red and visible light. Thus, the display of light-sensitive exhibits is a compromise between the need to preserve the object and the visitor's need to see its detail. Conservation lighting standards set strict limits on the amount of light and the length of exposure. Often, the result is the dull

warm glow of conservation lighting that museum visitors dislike.

In this research project I explored the psychology of human visual perception. I tested my empirical experience that lighting designers have the capacity to alter people's perception of brightness by adjusting factors other than high illuminance.

The experiment compares two identical exhibition spaces: one illuminated by a warm white reference light source and one illuminated with a cool white light source. 21 volunteers were asked to adjust the light levels of the cool source to provide a comparable ‘brightness’ in each space. Illuminance levels, colour temperature and spectral output were recorded for later analysis. Results were remarkable in their confirmation of the hypothesis.

Perception of Brightness


Academic Book !status:complete dates: UK/USA publication 2012 Spanish edition 2013 Portuguese edition 2014 Chinese edition due 2014 !funder: Laurence King Publishing !!project type: Academic Publishing

This 35,000 word book, with 192 pages and 304 illustrations was commissioned by Laurence King Publishing as part of their popular Portfolio Skills series.

The book is aimed at a broad range of readers from students through to practicing professionals.

The text explores the design thinking that underpins creative architectural lighting design.

The book has now been published in three languages, with a Chinese translation in preparation.

It has also been selected by Design Arts Seminars to be the core text of a distance learning lighting course for practicing professional designers in the USA.

Lighting for Interior Design


“I’m impressed with how clearly and succinctly Malcolm has composed the essentials of lighting design. It's a great book,” Kevin Houser, Professor, Penn State University, USA. Editor-in-Chief of LEUKOS, the journal of the Illuminating Engineering Society.

“this was the best book I had about the essentials of Lighting Design.” Koert Vermeulen, Principal Designer, ACT Lighting Design, Belgium. Membership Director, Professional Lighting Designers’ Association.

7,000 Word Academic Book Chapter !status:live dates:publication 2016 !!!funder: Oxford University Press !!!project type: Academic Publishing

The Oxford Handbook of Light in Archaeology is an academic anthology edited by Constantinos Papadopoulos of Southampton University.

The book, which is currently in preparation, is expected to be around 250 thousand words and will have 37 chapters covering all aspects of how light is implicated in archaeological study and practice.

My 7,000 word chapter deals with light in the museums and display environments. In preparation for this chapter, I negotiated special personal access to carry out lighting experiments inside Maeshowe, a Neolithic chambered cairn at the heart of Orkney’s World Heritage Site. This unprecedented access allowed me to explore how different angles of light, tinted light and digital projection can be used to enhance visibility of shallow inscriptions in stone.

The Oxford Handbook of Light in Archaeology


Above: directional light can be used creatively in museum displays to reveal shallow inscriptions that may be almost invisible with non-directional ambient light (Iona Cathedral Museum by Kevan Shaw Lighting Design). !Top: Viking runic graffiti from Maeshowe Neolithic chambered cairn in Orkney.

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Projects starting within 12 months


This book, which encompasses all aspects of colour within architectural design has been commissioned by Laurence King Publishing as part of their Portfolio Skills series. The author has asked me to provide a chapter on colour and light in architecture.

The commission came as a direct result of my own book for Laurence King Publishing, Lighting for Interior Design, which was published in 2012 (now available in 3 languages)

We are also discussing the possibility of creating a new internationally focussed masters programme in Colour, which I have been asked to contribute to. It is currently proposed that this would be hosted by Edinburgh School of Architecture and Landscape Architecture at Edinburgh College of Art. However, we are discussing the possibility that this exciting new programme could be a joint venture that includes Edinburgh Napier University.

This project, to re-light 12 Closes on Edinburgh’s Royal Mile, has grown out of a major project proposal by recent MDes Lighting student Roza Kopti. The proposal takes a new approach to the lighting of narrow closes and alleyways to provide a perceptually brighter and more comfortable environment for residents and pedestrian users.

A £50k pilot project is dues to start soon and be completed by the end of March 2015. This pilot will test ideas, materials and approaches to be expanded in the project to relight another 12 Closes in the Old Town World Heritage site. The circa £1.2M funding for the full project will come from a variety of partners including Historic Scotland and Edinburgh City Council, along with a number of commercial sponsors.

Myself and Edinburgh World Heritage plan that the pilot project will form the catalyst for a new research network of European Heritage Cities that will explore the potential for light and projection to be used sensitively and creatively to enhance these precious sites for residents and visitors.

Colour in Architecture Chapter for a book by Fiona McLachlan, Published by Laurence King Publishing

Royal Mile Closes Research and consultancy partnership with Edinburgh World Heritage Trust

Following the completion of my Innovation Voucher project to explore the feasibility of creating a sustainable festival of light art, an application for Follow-on funding will underwrite the setting up of the first annual event for January 2015.

The project was generated through creative contacts in Orkney and will involve a partnership with Kirkwall Business Improvement District Ltd and The St Magnus Festival.

I will be bringing in staff and students from the Events Management programme to help set up a series of interlinked temporary events that will be designed to draw more people into Kirkwall’s town centre at a traditionally quiet time of year.

The event will involve a range of night time public realm lighting and projection installations by international light artists and workshop groups of local and international students.

Kirkwall Light Festival Research and KE to establish a new international festival of light art in Orkney

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The approach for this project came after my ‘Is There a Right White for Museum and Gallery lighting’ paper at Professional Lighting Design Conference 2013 in Copenhagen.

The project is being funded by the Chinese Government’s National Administration of Culture Heritage, and involves a commission for Zhongtai Lighting (Shanghai, Hangzhou, Beĳing & Chengdu) to construct an international team of experts to develop new lighting standards that will be applied as part of a wholesale refurbishment of all Chinese museums. I was invited to be a core member of this team.

The initial project will involve the survey of existing lighting within 100 Museums across China. It is envisaged that this long running project will generate a number of PhD studentships to explore aspects of improved lighting conditions and reduced material damage for sensitive artefacts.

The project is still in the early planning stages but is expected to start within 12 months.

Rubicon Heritage, a Cork and Edinburgh based Archaeological Consultancy, have set up a joint venture with theatrical supply company Black Light, to deliver audio visual interpretation services for heritage sites. Rubicon have approached me about creating a partnership where we provide design expertise for this new joint venture.

As a precursor, and as a way of demonstrating the potential inherent within this venture,we are proposing a demonstration project for the Scottish Parliament site in Edinburgh.

Rubicon were the commercial archeologists who surveyed and documented the site in advance of construction work beginning. This Innovation project will see the archaeological findings re-interpreted in the form of interactive projections at the site.

Rubicon are also keen to get us involved in several similar projects that are due to begin in Ireland in the next 1-2 years.

100 Museums, China Research and KE project to write new lighting standards for Chinese Museums

Rubicon Heritage projects using creative lighting and projection to interpret archaeology

Following and approach from a personal contact, I am currently in the process of applying for an Innovation Voucher to begin the planning for this project.

Detail design of the project is expected to be funded with a Follow-on Voucher. The planned event will involve light, sound and film to enliven the Zoological Park for a temporary evening trail in February 2015.

Rather than creating a traditional light trail, I am proposing to develop innovative interactive projection systems and create an event built around the documentary and scientific film archive of the Zoological Society.

The project aims to establish this unique event as an annual fixture that fills a gap in Edinburgh’s busy calendar of festivals.

It is expected to draw an audience of several thousand people to the zoo at a time of year when the site is often very quiet.

Edinburgh Zoo a project to create a new, annual night time event for the Zoological Park

National Museum of China by Zhongtai Lighting

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Following a personal approach to Universal Fibre Optics (UFO), a Coldstream based manufacture and supplier of fibre optic systems, I have been asked to work with the company to develop a new range of LED light fittings for the company.

With their manufacturing base in Scotland, UFO are the UK’s only manufacturer of glass fibre and they supply fibre optic systems for high profile museum and gallery projects around the world, wet area lighting, signage, decorative chandeliers and sensory rooms. They have offices in the US, Russia and UAE.

The approach was for me to provide design skills to partner their in-house product manufacturing skills.

The exact nature of the project is still being discussed, but is likely to take the form of a small commission for a feasibility and scoping project. A Follow-on Voucher application will part fund the design development of an innovative range of light fittings based on Light Emitting Diodes - a new product area for the business.

This proposal is being developed with Edinburgh based Mike Stoane Lighting, a manufacturer of high quality low to medium volume lighting equipment for the architectural and museum trades.

With a business built around custom build and special project lighting, Mike Stoane Lighting spend a considerable amount of money and time shipping products to be tested at accredited lighting labs (there are no labs in Scotland). Whilst the full accredited national lab tests are sometimes required, it is often not necessary for most products.

The proposal is to establish a cost effective, fast turnaround lighting test laboratory at Edinburgh Napier University. The project will be a joint venture with Mike Stoane Lighting who will invest in test equipment to set up the facility. We are gathering other investors and further funding sources for the £100k setup costs.

The lab is proposed to be a teaching, research and income generating facility to service the Scottish manufacturing sector.

Product Development KE project to design a new range of lighting products for a Scottish manufacturer

Photometric Lab establishing test facilities to support Scottish lighting manufacturers & researchers

Fibre optic lighting represents the dominant method for illuminating light sensitive objects in museum display cases. Museums and Galleries around the world have an extraordinary amount of money invited in fibre optic lighting systems. However, although costly, fibre optic lighting relays on relatively crude and low technology devices to generate the light that is fed into the glass or plastic fibre optics.

Following recent discussions with Brendan McGurkin, Head of Commercialisation, I am progressing plans to develop a demonstrator for an innovative, high technology light source for fibre optic systems. The invention will be a retro-fit device to transform existing bulk fibre optic systems into a set of intelligently addressable and individually colour tuneable light sources.

A small number of Scottish and European manufacturers will be invited to view the demonstrator project with the aim of licensing the IP or setting up a partnership to exploit the invention.

Digital Fibre Optics a project to commercially exploit personal IP relevant to the heritage sector

image: Universal Fibre Optics image: Glasbau-Hahnimage: spectralightlab.com

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Why is my work important?


“I have known Malcolm Innes for over twenty years. His approach to designing lighting has always shown sensitivity and understanding of the user of the lit space and an educated understanding of the task of illuminating objects, surfaces, and different materials and textures. His understanding of the effect of light on human perception and health is exceptional.

As an educator, Malcolm has taken a leading position to raise the quality of Lighting Education by staging and chairing meetings of international educators, and planning and structuring further steps to realise common goals.

Malcolm applies himself with conviction to the tasks he sets himself. He is knowledgeable, well networked and open to new ideas. Research in the field of Lighting Design is becoming increasingly critical, since the knowledge gathered to date indicates the unexpectedly enormous impact light has on the way humans of different ages live, behave and perform.

A person of Malcolm’s calibre, background and quality is a huge asset to the research community.”

“As a lighting manufacturer we are well aware that the practice of lighting is far from a closed book with all that can be known, known and documented in definitive guides.

New technologies or pushing the boundaries of existing ones and societal / demographic changes both influence the latest thinking.

But there is no way to be sure on the effectiveness of new directions until they are trialled with people in real situations - rarely if ever can successful outcomes be derived from laboratory simulations.

This is something well understood by Malcolm and his circle and we have several times worked with him carrying out in-application social psychological research in the field of gallery lighting, An example was the relationship between the spectral power distribution (of LED sources) and perceived light levels. This research was carried out in 2011 and presented at that year's Professional Lighting Design Convention (PLDC) in Milan.”

Alison Ritter Director Educational

Concepts & Programmes, VIA Group, Germany

Roger Sexton Vice President Specifier

Service, Xicato, Global HQ, San Jose, CA, USA

“It is hard to exaggerate the importance of thoughtful, high quality lighting design. Many of us who create experiences for visitors in the tourism, heritage and museum sectors know this to be the case. So often lighting design is treated as the Cinderella skill - too frequently subsumed into the role of architect or mechanical and electrical engineer, its immense importance only recognised once it is too late.

I have worked with Malcolm over a period of about 20 years both as a lighting designer in the private sector and more recently in his current role. In addition to his professionalism and undeniable design skills his work has always gone beyond the obvious. His thoughtful approach has always begun with investigating the real opportunities and constraints in a project and his subsequent analysis has often led to a design that delivered more than was originally anticipated.

Whether a lighting solution is required for way-finding, creating atmosphere, changing mood, directly interpreting a story or message, illuminating an object or a view or a combination of all of these its impact on audiences, residents, end-users of any sort can be profound and is almost always greater than is consciously perceived.”

Dr Lorna Ewan Head of Visitor Experience,

Content & Learning, Historic Scotland

USA 27

UK 24

Bolivia 2Brazil 2

South Africa 1

Iran 6

Lithuania 11

Sweden 2

Hungary 7

Russia 1

China 1

Malaysia 4

Australia 2

Netherlands 3

France 2

Japan 1

Italy 1

Global Impact

Views

Top Countries arranged by all time views

Country Views Country

Paper views for a 30 day period in June 2014analytics from academia.edu


Since first uploading some of my papers to Academia.edu in November 2009, I have been sent regular updates on how many people have been downloading my papers. Although I have not actively promoted or advertised the existence of these papers, and although the platform is aimed at academics alone, I have currently had 878 profile views and 431 document downloads.

The fact that the profile views come from 63 different countries gives some measure of the global reach of the work. However, it can also be seen as an indication that a lot of people are looking for good quality research in areas where very little work has been done. This is a great opportunity, through further research, for us to position Edinburgh Napier University at a prominent position in the international world of lighting design.

It is worth noting that a recent market report by McKinsey, predicted the global lighting market revenues to be worth $150 billion by 2020. Europe is currently the largest single market for LED lighting.

2015 has been designated as UNESCO Year of Light. It would seem to also be the perfect time for ENU to capitalise on my lighting expertise.

An International Profession With no dominant centre of lighting design knowledge, internationality is the norm.

Research Income Generated*


Elgin Phase 1FagerhultBotanic GardensPLDC 2013Grid IronLightFair Las VegasLyceum TheatreLights in Goa

Botanic LightsElgin Phase 2XicatoKirkwall

Completed Projects

Dec 2011- Mar 2014

Live Projects

2014 -

Projects due to

start within next

12 months

Further projects,

expected start

within 24 months

Breakdown of Completed Projects

Breakdown of Live Projects

* All research and KE income is in addition to my full time lecturing role.

Researchers, Assistants & FellowsReadersProfessorsVisiting Professor

A time for investment?


School of

Computing

School of Engineering

& the Built EnvironmentSchool of Arts &

Creative Industries

Given that research staff within the School of Arts and Creative Industries represent only ten percent of all the research staff in the faculty, it seems we have a long way to go if we are to have a more research focussed University.

Undoubtably there are a large number of people in SACI who, like myself, are very active in research and KE work. However, the truth is that research is barely represented in promoted positions. My own subject group of Art, Design and Communication

has no Professor and no Reader, despite having staff members, such as myself, bringing us international respect both academically and commercially.

There is no person in a promoted research post to organise and lead the Principal’s charge of creating a more research focussed university. To achieve those aims, we desperately need investment in the research capacity of Schools that are under-represented, for it is here that we may have most potential for significant growth.

The distribution of research staff in FECCI suggests scope for significant research capacity improvement at minimal cost.

Distribution of Research staff in FECCI

Research Staff in the Faculty of Engineering Computing & Creative Industries

ENU currently has no research students studying lighting design subjects. Worldwide, there are very few centres of academic research in lighting design. However, this does not reflect a lack of market interest from architectural and creative professions, but rather a lack of subject knowledge and experience throughout academia.

My work has demonstrated the growing interest in lighting design research and KE at ENU. We are well placed to capitalise on a significant gap in lighting design research at university level. To this end, I am currently working to establish a suite of interlinked PhD studentships in lighting related subjects that can begin to build a significant and influential research group in a subject where we can excel.

• We are in discussion with the National Galleries of Scotland about creating a co-supervised PhD in

gallery lighting that will be submitted for the Scottish Heritage Consortium’s AHRC Collaborative Doctoral Partnership Award 2014.

• We are also beginning to discuss further museum and gallery related PhD proposals with other UK national institutions such as the British Museum and The National Gallery.

• I have been approached by the National Libraries of Scotland about the possibility of creating a PhD studentship to explore conservation lighting for works on paper. I am now exploring funding options for this.

• I am in early stage planning, with the National Trust for Scotland, for a research project to explore the potential of digital projection in the virtual restoration of faded wallhangings and furnishings.

• David Benyon is working on a proposal for Leverhulme Doctoral Scholarship funding for Tourism and

Heritage related research. David has included two research proposals stemming from my work with Historic Scotland at Elgin Cathedral: passive virtual reality & blending digital content onto physical artefacts.

• I am aware of at least 3 planned lighting related applications to the ENU 50th Anniversary Studentships. Two applications are from international applicants who have not studied at ENU before.

• The 100 Museums project in China is expected to generate at least one PhD studentship to support research.

• Anita Quye from the Centre for Textile Conservation at the University of Glasgow is discussing how we can collaborate and generate cross disciplinary PhDs in light, colour and conservation.

With so many willing partners, now is the ideal time to exploit our unique position and extensive network.

Increasing research capacity


Gallery Lighting Project by Eleni Thomaidou, MDes Lighting Design, 2013Gallery Lighting Project by Eleni Thomaidou, MDes Lighting Design, 2013

A Right White for Gallery Lighting, PLDC 2013, CopenhagenA Right White for Gallery Lighting, PLDC 2013, Copenhagen

An international network for lighting design education & research !status:live dates:2010- !funder: currently self funded !!project type: Academic and Research Network

Lighting Design Education and Research can almost be said to be an underground activity within the international academic community. My aim is for lighting design education to become mainstream.

Given the current scarcity of graduate level lighting education, this is a significant challenge. However, I am working closely with a number of other educators from around the world, who are equally passionate about furthering lighting education.

To this end, I was co-founder of the 1st International Lighting Educator’s Summit, Milan 2011. I have presented

two conference papers on lighting education topics at the Professional Lighting Design Convention in Madrid 2012 and Copenhagen 2013. I am now leading efforts to establish a new international association for lighting education and research. I have chaired meetings about this topic in Copenhagen, Frankfurt and (via Skype) in Philadelphia.

The current proposals by the working group, is that this nascent international association for lighting education should be based at ENU. This would be an incredible affirmation of the importance of ENU to the world of lighting design.

Improving Lighting Education


Lighting Educators’ Network Steering Group Meeting, Copenhagen, 2013

Learning & TeachingCPD Teaching, Lithuania 2013Light Art & Projection Module,Student Trip to London 2013

Lighting Workshop for Belgian Industrial Design Students, 2014 MDes Minor Project, Royal Botanic Gardens Edinburgh, 2013

Selected Activities in

Light and Colour in the Built Environment !status:live dates:2005 - !funder: Edinburgh Napier !role: Module Leader !type: 20 Credit Module 3rd yr BDes

This 20 Credit module was created by Malcolm Innes to deliver a high quality introduction to lighting for undergraduate Interior Architecture students. The module, created in 2005, whilst a zero hours lecturer, was the only module on the Interior Architecture programme that was not rewritten following the programme title change to ‘Interior and Spatial Design’

The module format follows the path of a commercial design project, beginning with subject research (including the main lecture programme), leading to design idea generation through hands-on experimentation. The module culminates in the production of a resolved design proposal to utilise architecture to capture light.

The module has been designed to be highly interactive, multi-media and responsive to student needs.

For the past 4 years I have been using student polling via clickers and now using a customised online polling and feedback system. This provides invaluable data to track comprehension amongst students allowing immediate adjustment to the teaching as required.

BDes Lighting Module

Page �19Learning and Teaching

Weekly online polling to check student progress. !Students can access poll with any web enabled pc, tablet or phone.

Light and Colour in the Built Environment !status:complete dates:2009 - 2011 !funder: Edinburgh Napier !role: Module Leader !type: 20 Credit Module MDes Interior Architecture

This module was created by Malcolm Innes to deliver a high quality introduction to lighting for Masters students studying on the Interior Architecture programme.

The module has been designed to be highly interactive, multi-media and responsive to student needs.

In 2011, we partnered with Philips Lighting and the Hotel Industries Trust Scotland to provide a live brief for the students to deliver creative lighting enhancements for a high end fundraising dinner for the Trust, held in Edinburgh’s Mansfield Traquair Conference Venue.

Students created a number of dynamic lighting installations utilising equipment loaned by Philips Lighting. The installations were used as an enhancement to the venue to entertain the event’s 300 attendees.

Page �20

MDes Lighting Module 2009-11

Student installations included the entrance lobby, the main presentation area (top row) and theming the male and female toilets (above).

Spatial Lighting Design !status:live dates:2012 - !funder: Edinburgh Napier !role: Module Leader delivery by zero hours staff in 2013-14!type: 20 Credit Module MDes Design (Lighting) & (Interior Architecture)

Following the successful creation of the UK’s first design masters in Lighting, this module was written to form the backbone of the first trimester of the MDes programme. The module is shared with MDes Interior Architecture students.

The module combines a grounding in lighting design theory with personal study, organised site visits and significant amounts of practical hands-on work to deliver a final design project at the end of the module.

Since 2013, the module has been mostly taught by UK Lighting Designer of the Year, Kevan Shaw. I have remained module leader and deliver the Moodle based components, organise site visits and cover for Kevan when he is overseas on business.


MDes Spatial Lighting

Above: Kevan Shaw demonstrating colour mixing effects. !Top images: student tour of the recently completed Scottish National Portrait Gallery with the project’s lighting designer, Gavin Fraser.

MDes Light Art & Projection Module !status:live dates:2012 - !funder: Edinburgh Napier !role: Module Leader !type: 20 Credit Module MDes Design (Lighting) & (Interaction Design)

I created this module as a core element of our new MDes Lighting Design programme. It is this emphasis on the art of light that makes our programme unique.

This module introduces students on our masters of design programme to the different approaches and ways of working involved in light art projects.

Through background research, model making and sometimes full scale installations, students explore how the methodologies involved in the production of art commissions varies from traditional design practice.

The outputs from the module are intended to extend the breadth of the students portfolio, demonstrating different skills and ways of working.


MDes Light Art & Projection

Above: model for a passive 3D ’pixel’ used in multiples to add a decorative element to existing glazing systems. !Top: Model for an architectural scale installation. Simple vertical movement of a light source through a reflective shaft, produces highly complex inter-reflections.

Live project for a student design team !status:completed dates:Jan-May 2011 !funders: Edinburgh Napier Malcolm Innes Design !role: Module Leader !type: 20 Credit Module 4th yr BDes

Most students in the Art & Design subject group undertake a professional practice module where they build a graphical identity and online portfolio to enhance their visibility to potential employers.

However, BDes Design & Digital Arts is a two-plus-two programme, unlike the other design subjects, and a different approach has been taken to their professional practice. I designed this module to deliver both a learning experience that resembled work in a real design practice, whilst also providing a high quality practical project to enhance student skills and add to their portfolio of work.

For the first cohort on the new module, I created a brief requiring the students to create a live performance project to introduce the university’s War Poets Collection to a new audience. Catherine Walker (ENU), as curator of the collection, and Tim

Pethik (Studio SP), as designer of the permanent exhibition at Craiglockhart, acted as the clients for the design team. In order to deliver the best learning experience whilst producing a high quality live project, my roles included director of the design practice and clients’ project manager, alongside my normal roles as lecturer and mentor.

War Poets 2011


Students were introduced to financial and time resource planning techniques along with digital and passive projection techniques to deliver a highly immersive audio visual experience.

Live project for a student design team !status:completed dates:Jan-May 2012 !funders: Edinburgh Napier Historic Scotland Martin Pro, Denmark !role: Module Leader !type: 20 Credit Module 4th yr BDes

In year two of the module for BDes Design & Digital Arts, the students were formed into a design practice to deliver a live project brief for Historic Scotland. A one night light, sound and projection installation was created to draw in a new audience to the Trinity House maritime museum in Leith. The result delighted the client who reported more visitors in one night than the whole of the previous year.

The project was made possible through my personal contacts at Historic Scotland and Martin Professional - a Danish manufacturer of high end lighting and control systems for live entertainment venues.

Martin Pro provided in-kind support of several tens of thousands of pounds worth of professional equipment and technical supervision.

Trinity House 2012


Above: Martin Pro staff lead a technical demonstration for the student design team. !Main Image: one scene from a dynamic lighting show created for the Trinity House facade.

Left: the museum curator examines interpretive ‘stained glass’ created by the design team to explore the themes of the Trinity House collection.

Continuing Education Workshop, Frankfurt !status:completed dates:April 2012 !funders: PLD Education Concepts !role: Workshop Tutor (private commission)!type: Professional Level CPD

Working as part of a team of three specialist tutors, this continuing education workshop was delivered as part of a programme of CPD for Lighting Design Professionals.

The workshop series, staged alongside Light + Build in Frankfurt, the worlds largest trade fair for architectural lighting, was targeted at experienced design professionals.

The event was created by one of the leading conference providers in the architectural lighting design world.


As light scales down very well, simple card models were used by workshop participants to explore architectural lighting ideas.

Lighting Control CPD

Continuing Education Workshops, Lithuania !status:continuing dates:2012, 2013, 2014 !funders: Gaudré, Vilnius !role: Workshop Tutor (private commission)!type: Professional Level CPD

In this annual commission I deliver professional level CPD workshops for practising Architects and Interior Designers in Lithuania.

Over a three day workshop, 25-35 participants are taken through a series of lighting lectures and hands-on explorations leading to the installation of a temporary lighting installation created through collaborative group work.

Lighting Workshops: Lithuania


Above: demonstrating lighting effects to workshop participants. Results of 2012

We are hosting a Student Speaker Competition in January where 5 out of 15 international lighting student presenters will be selected to deliver a full professional paper at PLDC 2015 in Rome.

National Trust for Scotland want me to develop a textile colour restoration projection for Falkland Palace.

I have been invited to speak at a conference in Brazil in 2015.

Xicato (high end LED manufacturer) want to do “anything we want” as an Innovation/Follow-on Voucher.

The Head of Research at Fagerhult Lighting (Scandinavia) would like to do a research project with us.

Whilst in Vegas three weeks ago, the Editor of Architectural Lighting Magazine (North America) asked me to help with a special edition focussing on lighting education…

…she also wants to work with us (and Publishing students) to create a new book collects some of the most influential and inspiring international architectural lighting projects from the past few decades

We could secure a number of lighting PhD studentships following my discussions last week with several Collaborative Doctoral Partnership consortia.

This week, I got asked to deliver a keynote at the Iran Lighting Convention 2014 in Tehran.

I was also asked in for a meeting at the National Library of Scotland to discuss relighting their exhibition spaces, and relighting their main reading room at George IV Bridge….

One More Thing… upcoming work I didn’t have room to mention

Workshop Leader, Lights in Alingsås, Sweden, 2010

Buchanan Street, Glasgow (Speirs+Major) Sheikh Zayed Grand Mosque, Abu Dhabi (Speirs+Major)

St. Machar’s Cathedral, Aberdeen (Malcolm Innes Design) The Lighthouse, Glasgow (Speirs+Major)

Royal Museum of Scotland (Kevan Shaw Lighting Design) Barajas Airport Terminal 2, Madrid (Speirs+Major)

Selected lighting design consultancy experience from private practice

image: JeroenP – iwillbehomesoon.com

Date post:	01-Apr-2016
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