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TYSON LIGHTING DESIGN – CASE STUDY
THE CLUB HOUSE, LIVERPOOL – JANUARY 2016
The ProjectL i ve rpoo l One now o f f e rs i t s v i s i t o rs a t as te o f t he Ham pton ’ s
i n i t s l a t es t d r i nk i ng and d in i ng o f f e r i ng . Bas ed on Chavas s e
S t ree t , t he l uxu r i ous C lubhous e has a t as te o f New Eng land
and t akes i t s i nsp i ra t i on f rom the enchan t i ng beach houses o f
t he c h i c and a f f l uen t New York ho l i day des t i na t i on .
Tys on L igh t i ng was c om m iss ioned t o de l i ve r t he l i gh t i ng des ign
f o r t h i s im ag ina t i ve , v i s ua l f eas t . Low l eve l am b ien t l i gh t i ng
was us ed t o c om p l im en t t he pas te l c o lou r s c hem e and s eas ide
wa l l pa in t ed m ura l s wi t h c l ea r g l as s pendan t s hung t h roughou t
t o k eep a l i gh t and f res h f ee l . S im p le ye t beau t i f u l pendan t s
were f as h ioned f rom na tu ra l m a te r i a l s uc h as wi c k e r and
neu t ra l f ab r i c s l i k e hes s ian was us ed t o re f l ec t t he s andy
t ones .
Page 2
Page 3
Page 4
The Crystal Glass Chandelier
To add t he wow f ac to r t he c l i en t i ns t ruc ted Tys on L igh t i ng t o c om m is s ion two f ea tu re
pendan t s . The f i r s t be ing a 1 .5 m e te rs i n d i am ete r and 2 .6 m e te rs h i gh s t unn ing c hande l i e r
ado rned wi t h c rys ta l dec an te rs and d rops , c ham pagne f l u t es , c u t g l as s and t i n t ed g l as s
gob le t s .
The Crystal Glass Chandelier
Page 5
Now pos i t i oned c en t ra l l y i n t he g rand s t a i rwe l l a t t he
C lubhous e t he opu len t c hande l i e r w i t h i t s c om p lex a r ray o f
c rys ta l p r i s m s i l l um ina tes t he room wi t h re f rac ted l i gh t
p roduc ing a b r i l l i an t l y b r i gh t f ea tu re add ing f em in in i t y and
p i zazz t o t he s c hem e.
Page 6
The c ham pagne c hande l i e r f ram e work wh i c h was n i c k e l p l a t ed
t o p roduc e a m i r ro r f i n i s h was i ns ta l l ed and d res s ed on s i t e by
t he Tys on t eam ens ur i ng eve ry th i ng f rom des ign t o c om p le t i on
ran s m oo th l y f o r t he c l i en t .
The Crystal Glass Chandelier
Page 7
The Balloon Concept & Detail
The Tys on des ign and m anu fac tu r i ng t eam b rough t t o l i f e Pau l
Dans on ’ s m ag i c a l ho t a i r ba l l oon i n wha t has p roven t o be a
grand and rom ant i c f ea tu re pendan t . The f ram ework f o r t he
eye c a t c h ing c rea t i on wh i c h i s 1 . 6 m e te rs i n d i am ete r and a
g igan t i c 3 . 2 m e te rs h i gh was m ade us ing s t ee l rod wh i l s t ro l l ed
s t ee l and dec o ra t i ve band ing was us ed t o c rea te t he bas k e t .
The Balloon Finish
Page 8
The c l i en t ’ s w i s h was t o us e a r i c h bu rgundy c o lou r f ab r i c , w i t h
l a rge t as s e l s and dec o ra t i ve c o rds t o d rape and s wag a round
t he f ram e o f t he ba l l oon , c rea t i ng a t hea t r i c a l as pec t t o t he
f i t t i ng wh i c h c on t ras ted pe r f ec t l y aga ins t t he raw s tee l
f ram ework . Ac c o rd ing t o Tys on L igh t i ng des igne r , M i k e
Radfo rd , t he b igges t cha l l enge was search ing f o r su i t ab le
m ate r i a l s and dec o ra t i ve c o rds t ha t m a t c hed and c om p l im en ted
eac h o the r t o em be l l i s h t he ba l l oon .
Page 9
Designer CommentsMik e c om m ented t ha t “The p roc es s o f m ak ing bes pok e one o f f s b r i ngs i t s
cha l l enges bu t , wi t h e f f i c i en t p rob lem so l v i ng t h roughou t t he p ro jec t , i t
br i ngs even b igge r rewards a l l owing c rea t i v i t y t o b l os s om ” .
The p roc es s f o l l owed by t he Tys on L igh t i ng t eam in o rde r t o b r i ng a c l i en t ’ s
v i s i on t o a rea l i t y o f t en beg ins wi t h a s im p le s k e t c h and a b ra in s t o rm ing
m ee t i ng wi t h t he c l i en t where buzz words , des c r i b i ng t he l ook , f ee l and
f i n i s h o f t he p iec e a re t h rown a round t o de f i ne t he c l i en t ’ s v i s i on . The
s k e t c hes a re t hen deve loped i n t o Tys on ’ s 3D s o f tware So l i dwork s
P ro fes s iona l m ak ing i t eas y t o m an ipu la t e any c hanges requ i red f u r t he r
down t he l i ne i n t he des ign p roc es s . The i deas a re re f i ned wi t h pos s ib l e
va r i a t i ons o f m a te r i a l s and f i n i s hes t ha t c an be ac h ieved . Onc e t hen
c onc ep t i s f i na l i s ed t he Tys on L igh t i ng des igne rs us e CAD d rawings t o
f i na l i s e he igh t s , c om ponen t s and f i n i s hes i n an t i c i pa t i on o f t he c l i en t ’ s f i na l
s ign o f f .
Mik e re f l ec t ed t ha t “ I t ’ s t he c ha l l enges and res o l v i ng t he d i f f i c u l t i es t ha t
m ak e t he p ro jec t s m ore reward ing . P ro jec t s s uc h as t he C lubhous e pus h t he
boundar i es i n c rea t i v i t y and f o rm f o r l i gh t i ng p ro jec t s . The deve lopm en t
s t age i s t he bes t t im e t o f o res ee any i s s ues and res o l ve t hes e i n advanc e
t o avo id s l owing down p roduc t i on . O f c ou rs e , s om e i s s ues c an on l y be
i roned ou t du r i ng m anu fac tu r i ng f o r exam p le wi r i ng and h id i ng a c on t ro l
gea r e f f i c i en t l y o r f i nd ing a s u i t ab le m e thod o f s us pend ing c ham pagne
g las s es s t ra i gh t and t rue . W ork ing on t he C lubhous e has b rough t ano the r
ou t s t and ing p ro jec t t o Tys on ’ s doo r where , as a lways , we pu t ou r a l l i n t o
ac h iev ing ou r c l i en t ’ s v i s i on c rea t i ng s how s topp ing bes pok e f i t t i ngs wh i c h
have pus hed t he boundar i es i n f o rm and f unc t i on - t he i dea l app roac h f o r
c l i en t s who wan t som eth ing ext rao rd ina r y ” .
Tys on L igh t i ng ’ s Manag ing D i rec to r , Andrew G ibs on added “C lubhous e i s an
i ne f f ab le p ro jec t f o r Tys on ’ s where we have p roud l y s t re t c hed t he
boundar i es o f ou r c rea t i v i t y and m anu fac tu r i ng p rowes s . W i t h m any m ore
bes pok e p ro jec t s i n t he p ipe l i ne 2016 i s s u re t o be s em ina l yea r f o r ou r
t eam ” .
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