BCD SPECIAL REPORT ON
HISTORIC CHURCHES
21ST ANNUAL EDITION
39
CHURCH LIGHTING
Mark Sutton Vane
L
IGHTING HISTORIC
churches poses
many challenges. At times, much of
the light is natural daylight, which is
both perfect in quality and free. However,
in a typical church there will be places
where natural light does not penetrate well,
particularly where stained glass predominates.
Even on a bright sunny day, daylight must
often be supplemented by artificial light, but
without negating the benefits of available
natural light. As dusk approaches, the use
of artificial light will need to be extended
to suit the various functions and activities
taking place. Controlling the varying lighting
requirements can be complex. This article
outlines the use of artificial light in historic
places of worship and how it can be controlled.
Church lighting has a number of
requirements, some practical, some aesthetic.
First there needs to be enough light to move
around safely and comfortably so that, for
example, steps or obstructions are clearly
visible at all times. There also has to be enough
light for church users to carry out activities
comfortably, from reading the small type
in a hymn book to watching the minister
or reader, or following a performance.
The church may have fine architecture or
furnishings that can also be accentuated. The
human eye is drawn to the brightest object in
the field of vision so spot-lighting can be used
to pick out a crucifix, organ or other significant
feature. By using light in this way it is possible
for the people running the church to highlight
some features and exclude others, changing
the atmosphere and character of the space.
Churches are increasingly being used for
a wide range of activities, including concerts,
talks, meetings, art exhibitions and children’s
activities. For some events the building may be
full to capacity, while others might be confined
to a small gathering in a side chapel. The lighting
must be right for each activity so it needs to be
flexible. However, this can result in a huge array
of switches in even a small church or chapel,
making it difficult to control. Making a scheme
flexible in a user-friendly way requires skill and
an understanding of the specific requirements of
the church. The first step in the design process,
therefore, is to explore the requirements with
the client as fully as possible. Then the resources
must be established – usually the funds and
time available. Finally, the design is created that
matches the requirements to the resources.
A large parish church will have several
spaces with different requirements. For
example, when the church is open to visitors
on a gloomy winter day, a low level of light
might be provided in the aisles, while a higher
level might be used for a side chapel with
Spot-lit statue of St Michael at the Church of St Michael and All Angels, Chiswick (All photos: Sutton Vane
Associates unless otherwise stated)
