NIGHT OF HERITAGE LIGHT

01.10.15 #NOHL

Blenheim Palace

@BlenheimPalace #blenheimpalace

Site Location: Blenheim Palace
 
Name: Michael Curry
 
Tell us about yourself, Michael:
 
I have worked in lighting design for 20 years joining dpa lighting consultants in 1999. I have been fortunate to have been involved in so many interesting and diverse projects working with inspiring architects, interior designers and artists, as well as our own team of creatives.  I am leading this event with our team of imaginative individuals who have worked hard to pull this together and love this type of ‘hands on’ approach to lighting design.
 
Our profession equips us with such amazing tools to transform spaces, objects and people’s lives by improving the lit environment.  The opportunity to light Blenheim Palace was clearly a significant driving force for our enthusiasm for the event but also the way that designers and manufacturers have formed together as a collective with one overriding goal to support each other for this event. As lighting designers we rely on manufacturers to help us produce impressive lighting schemes with their ‘tools’ so I am grateful of those who have helped us.
 
 
What are your plans for your NOHL site?
 
Blenheim was put forward as a potential site and we grabbed it straight away knowing it could look spectacular. The Palace and grounds are stunning and there are so many lighting opportunities in every corner. We had originally wanted to extend or scope by lighting the famous bridge and striking column of Victory as points of interest leading to the Palace. We had to pull back our scope and dilute the original scheme which actually told a better story of what we were trying to achieve. 
 
We are looking at lighting the main entrance as the focus of the scheme with the lighting receding back around the perimeter of the courtyard. The palace hasn’t had a proper sensitive architectural lighting scheme and the stunning roofscape certainly hasn’t been expressed before. We want to splash a little light here and there and also dust it on the top to expose the architectural peaks against the back drop of a setting which again recedes back into darkness.