Behind the curtain at Gleneagles

Lighting Design International’s scheme supplies almost all the light for the new spa at Scotland’s famous Gleneagles Hotel

There's something different about the spa at the art deco Gleneagles Hotel. Award-winning interior designer Amanda Rosa has eschewed the all-too-common Asian, cutting edge contemporary and traditional themes, opting instead to combine classic and contemporary styles in a way that reflects the decor of the hotel.

Rosa says: "I believe the spa will make a statement with its uniqueness, but at the same time I hope to create something classic and elegant that will stand the test of time."

The 350-hectare hotel and spa are in a secluded spot in the heart of Scotland. The surroundings may be beautiful, but the Scottish climate is not always conducive to outside activities, and the days can be short. So the spa complex is all indoors and, apart from a daylit courtyard, it depends on artificial lighting.

The ESPA spa design team briefed Lighting Design International to design a scheme that would suit Rosa's interiors, which are influenced by Coco Chanel, with strong lines and a near monochrome colour scheme.

A warm reception

A guest's first impression of the spa is the reception with its warm dark timber interior. Lighting creates visual interest in this area, says senior designer Christina Nicolaides. "There's cold cathode to the front of the desk, which creates a halo, and a chandelier that was specified by the interior designer. Behind the desk are a series of niches containing objects lit by tungsten halogen downlights, to add sparkle."

"The wall was so incredible we thought uplighting would create drama"

A low-level display to one side of the reception area is highlighted with pin spots - downlights with a beam angle of about 10 degrees - drawing visitors' attention to a nearby product display.

"This was an important area for ESPA and the spa," says Nicolaides. "We backlit the glass screens with fluorescent sources and used downlights to create sparkle on the boxes and bottles. Then we put fluorescents to the front of the long shelves to light the products so they were not in silhouette."

Walk this way

One wall of the walkway that leads visitors to the cafe/juice bar area is covered by a beaded 'curtain' of pearls - another of Chanel's enduring trademarks. Nicolaides says this scheme is representative of the simplicity of the approach taken to lighting Rosa's designs. A procession of downlights in a ceiling slot dramatically illuminates the strings of chrome beads.

LDI considered other light sources such as fibre optics LEDs, but it would have been a prohibitively expensive way to achieve a similar effect. "LEDs simply aren't a replacement at the moment if you want that kind of effect," says Nicolaides, "you need consistent colour rendering."

There is another beaded wall in the spa cafe, continuing the design theme for casual visitors. Those staying for treatment, however, will encounter a slightly different, moodier theme.

Improved circulation

In the treatment circulation areas, low level uplights - with lamps set back into the fittings to prevent glare - highlight the luxurious wall finishes and textures. "The wall was so incredible we thought uplighting would create drama," says Nicolaides. Accent lighting from more pin spots picks out art and sculptures.

The low key scheme is vital to maintain visitors' sense of well being after a treatment.

A passage clad in dark brown tiles leads to the water experience. It is lit at low level with floor washers and punctuated with recessed wall slots lined with Bizazza tiles. These are downlit, creating shafts of light on the floor.

The new black

One of the boldest design statements in the spa is the Vitality Pool which is finished in dark brown, almost black. Illumination is supplied by fibre optics in the neck plunge, which make the emerging water glow with changing colours. In the pool itself, there are LED uplights.

"Because the glass is textured and the texture is picked up by the light, it looks like water's trickling down"

More fibre optics light a feature glass wall that separates the pool from the sky-lit courtyard beyond. "Because the glass is textured and the texture is picked up by the light, it looks like water's trickling down," says Nicolaides.

The courtyard with its reflecting pool and trees has a number of artworks, which are illuminated, and pool lights.

Here comes the sun

There are 20 treatment rooms at the spa. Typically they contain a circular panel backlit by a fluorescent source with an amber sleeve that simulates the calming effect of the sun, and a slot in the ceiling that contains a xenon source, which is easy to dim for scene setting. All of the lighting in the treatment rooms is concealed to avoid any glare for guests.

A downlight near the basin helps staff prepare for visitors.

Four lighting scenes are available to the staff, but they can be manually adjusted to suit guests.

After their treatment, guests can relax on day beds. This space continues the combination of light and textures that is the hallmark of the spa. The beds are separated by double layers of bronze organza that are internally lit from concealed lighting in ceiling slots. Each bed has a reading light, built into the beds supplied by ESPA.

A final touch is provided by a low tech source - candles throughout the space maintain the mood.

Project details

Project: The Spa at Gleneagles by ESPA
Lighting designer: Christina Nicolaides, senior designer, and Sally Storey, design director, Lighting Design International
Architect: SMC Hugh Martin Architects
Interior design: Amanda Rosa Interiors
Principal suppliers: ACDC, Light Graphix, UFO