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Top left A bandshell in Maple Grove Town Green, Minnesota is covered with a concrete roof accented with colour-changing LED uplights mounted from several angles. Top centre The historic c.1928 Foshay Tower has become the upscale 229-room W Hotel in downtown Minneapolis. Glistening circular custom beaded glass fixtures that extend to the floor serve as contemporary crystal chandeliers in the The Living Room Lounge. Top right Bet Shalom Congregation, Minnetonka, Minnesota: a hexagonal chandelier provides the ability to uplight the ceiling, downlight the pews, and accent the altar. Above Cue Restaurant at the Guthrie Theatre in Minneapolis, Minnesota combines dramatic lighting, superb cuisine, and a prelude to the theatre complex.
anybody off. Our operative was: we’ll hang on and make it work, and it did.” Schuler Shook’s practice successfully straddles its two specialties: architec- tural lighting design and theatre planning. “Theatre planning remained strong during the recession,” DiBlasi indicates. “Theatre projects typically take several years from beginning to end. But once the ball gets rolling and the funding stream is in place, they move right along to completion. “Ninety-nine percent of the theatres for which we design the theatrical lighting we also do the architectural lighting. It’s fun to set the mood of the audience chamber ahead of when the audience will actually view the performance. The lighting of the lobby and public spaces and the theatre
interior before the performance begins visually supports their theatre-going experi- ence,” DiBlasi believes. One example he gives is the historic c. 1928 Boston Opera House, for which he directed the restora- tion of the building’s exterior and interior lighting, as well as all of the theatre plan- ning. “It’s one of the prettiest opera houses in existence anywhere today, an incredibly beautiful hall.”
Schuler Shook is introducing contemporary lighting strategies into the renovation of Orchestra Hall in Minneapolis, a 1970s structure that the firm has been upgrading with lighting and rigging for over 20 years. According to DiBlasi, plans include ceiling illumination utilising Color Kinetics LED RGBAW that uplights the ceiling cubes and
wraps down the wall behind the orchestra. “We chose LED downlights to account for the varying ceiling heights in the lobby and for their ability to adjust the intensities, as well as to flash the lights for the audience to take their seats. There’s a lot of glass in the lobby, so photocell solar sensors will be installed so the lights won’t be in operation when they are not needed.” LEDs will also be installed in the perfor- mance areas. “This is a large hall, cur- rently illuminated with incandescent and quartz fixtures. The director of facilities was thrilled when he totaled the estimated savings in energy and cooling bills,” DiBlasi reports. “He says that 70 percent of his electric bill is just for the hall.” Construc- tion is expected to begin in 2012 and be
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