LONDON 2012 LIGHTING CASE STUDY
Lighting ‘bubbles’ in the Aquatic Centre ceiling
Taking light meter readings by boat
‘You learn an awful lot through the process and we’ll try and capture that for the next people that have to design a pool or velodrome Mike Simpson
Aquatics Centre Like the velodrome, the stunning design of the Aquatics Centre, by Zaha Hadid Architects, caused some compromises with the lighting. ‘The event lighting comes through holes or ‘bubbles’ in the roof that were fixed before the quantity of floodlights had been finalised,’ said Simpson. ‘This has resulted in some crowding of lights to achieve TV performance.’ These bubbles contain between two and 14
1 kW floodlights, with just under half being hot restrike lamps. A total of 420 1 kW and 122 400 W floodlights are used to achieve 2,000 lux vertical. To take light meter readings over the pool, Simpson and his team used an inflatable dinghy tethered with ropes. Lighting over the diving pool is equipped
with low frequency, square wave control gear for super-slow motion broadcasting. Mike Simpson is keen to take lessons learnt
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28 CIBSE Journal September 2012
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from these venues to update guidance from CIBSE and the Society of Light and Lighting. ‘You learn an awful lot through the process and we’ll try and capture that for the next people that have to design a pool or velodrome. For example, there’s no flicker spec in the lighting guide and TV is only going to increase.’ Arup’s Giulio Antonetto urged designers to
go back to first principles. ‘Very few existing standards talk about cameras and how they work. A camera needs light, so it is important to understand the effects of shutter speed, aperture, exposure index, frames/s and so on. ‘Try CFD optimisation to balance phasing of luminaires, use 3D, photometrically-accurate rendering technology and interactive tools to explain your design to stakeholders, and always push for the best.’ Few would argue that all concerned have not strived for the best at the Olympic Park. CJ
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