Lighting : Lighting April 2014 - Vol 34 Issue 2
20 LIGHTING MAGAZINE | April/May 2014 April/May 2014 | LIGHTING MAGAZINE 21 “It’s all to do with visual acuity. It depends on what object you’re playing with. For example, if you’re playing indoor cricket, you’ve got a very small, fast, hard ball travelling at great speed, so the eye has to see this small object and be able to react to it,” Lewis says. Lighting plans should also pay close attention to where the action takes place in order to provide players, spectators and sports officials with a clear view of a game’s key moments. The centre of the action varies from sport to sport – in a game of netball, for example, the crucial activity takes place in the goal circles, while a game of baseball has more of a focus on what happens between the batter, pitcher and catcher. That’s not to say that lighting the rest of the field needs no consideration; making sure the sidelines are well lit and that the field of play is uniformly illuminated – “the same as if you were playing in daylight, in the sunshine,” Lewis says – must also be considered. These sorts of parameters, while numerous, present a fairly straightforward premise in single- sport venues where the same sport is played night after night. But the complexity increases when designers are tasked with venues that play host to multiple sports, each with their own set of rules and objectives. Dr Philip Greenup is a lighting specialist with Arup. He recently completed a major refurbishment of Canberra’s Manuka Oval as part of an integrated team, alongside Cox Architects, Abacus Lighting and DIALight ILS. The project won an Urban Design award at the AIA ACT Chapter Architecture Awards and a Lighting Design Award of Commendation in the IES NSW/ ACT Lighting Design Awards. According to Greenup, the ACT Government wanted to bring the venue, which plays host to both AFL and cricket matches, up to broadcast standard to start attracting major sporting events to the region. The project came with a variety of challenges, not least the need to cater for two vastly different sports using shared light fittings and fixtures. “Manuka is a cricket and an AFL oval. In cricket, the majority of the action happens in the centre of the pitch, so you’ve got to make sure you’ve got more light there, and you’ve got to make sure you’ve got it in the right direction – both the horizontals and the verticals,” Greenup says. “But in AFL, the key stuff happens in the goal squares at the two ends of the pitch. That was a real challenge – particularly now, given the use of cameras, third-umpire technology, which didn’t exist the year before last – that really upped the ante in terms of getting the lighting right.” In situations like these, an integrated plan that is responsive to each sport being played is essential. According to Lewis, the logical starting point should be whichever sport is likely to cause the most problems. “For example, anywhere where you’re tossing the ball up – like badminton, where the shuttlecock goes up in the air and you have to follow it; the player may have a real problem if there are lights immediately above the courts. I would design for that worst case scenario, and then add the other sports in from there,” Lewis says. Switching levels – or the use of an automated system that uses the same fittings and fixtures to produce individualised lighting plans for different sports – can provide a useful solution in cases like these and are already commonly used in major stadium fit-outs, including the refurbished Manuka Oval. “Ideally, you’d land up with a system where, if a cricket match is going to be played, you’d waltz in in the morning, go to the computer, turn it on and push the button that says ‘cricket’, and 700 lights would come on. The next day, when AFL is played, push button number two and 650 different lights will come on,” Lewis says. “Although the majority may be common, some specific to the nature of the sport are inevitably required.” The lower ceiling at RACV Torquay resort made effective pool lighting more difficult without mounting luminaires over the pool. Lighting design by Arup. image copyright Jaime greenup. The high ceiling in the Water Cube, Beijing, allows for high mounted floodlights off to the side of the pools. Building design by Arup, PTW Architects and CSCEC, broadcast lighting to Olympic Games specifications by GE. image copyright ben mcmillan. Ideally, you’d land up with a system where, if a cricket match is going to be played, you’d waltz in in the morning, go to the computer, turn it on and push the button that says ‘cricket’, and 700 lights would come on.
February 2014 Lighting (v2-HR)
Lighting June 2014 - Vol 34 Issue 3