This page contains a Flash digital edition of a book.
136 TECHNOLOGY / LED CASE STUDY DRAMATIC ENTRANCE Custom fixtures created by Anolis have revived the foyer at Australia’s National Institute of Dramatic Art.


LED manufacturer Anolis has engineered and produced a custom lighting solution for a major new installation in the impressive foyer space of the Australian National Institute of Dramatic Art (NIDA)’s award winning theatre complex in Kensington, Sydney, Australia. A new energy efficient lighting scheme has been installed, replacing 28 recessed 500W PAR 56 halogen fittings with the brand new Anolis ArcSource 48 MultiChip (MC) fixture, specially designed by Anolis for this project. NIDA’s lighting supervisor Adrian Wright explains that top of their brief for the new lighting was to make a significant reduction in electricity consumption across NIDA’s public areas. They also wanted to utilise light sources that offered more versatility and dynamics than just a ‘standard white’ lighting scheme. Practically, the Anolis scheme uses 60% less power compared to the previous installation and further long term savings will follow due to the reduced ongoing maintenance required for LEDs. Wright and the senior management team at the award winning venue complex made their decision after considering several options and proposals for LED replacements, selecting Anolis for its quality, light output and the bespoke retro-fittable design that is unique to the Anolis ArcSource 48 MC fitting.


The new fixture consists of twelve 10 watt Cree MCE RGBW LED chips that enable full and seamless RGB colour mixing plus an excellent selection of ‘real’ whites in a variety of colour temperatures. The concept for the new ArcSource was designed and developed by Anolis in just four weeks, and delivered to NIDA by Anolis’s Australian distributor, ULA. The building, designed by HASSELL in association with Peter Armstrong Architecture a decade ago has bold glazed walls, a dramatic sloping canopy and takes on beacon-like lighting qualities after dark. There were many challenges involved in lighting the foyer’s interior - the throw distance for the fixtures is over ten metres, so it was essential that the output was the same as the previous scheme, whilst maintaining energy efficiency, low power consumption and operating costs. Anolis’s optimised light engine produces a fully homogenised light source - smooth,


28 recessed 500W PAR 56 halogen fittings with the brand new Anolis ArcSource 48 MultiChip fixture, specially designed by Anolis for this project


rich and powerful - across the entire colour spectrum, which was a primary factor in choosing the Anolis ArcSource 48 MC over other products, as they didn’t want to see any blockiness or pixelation in the source. Says Wright, “I also wanted plenty of headroom on the intensity front, and as a result, our currently programmed lighting states are all around 50 per cent.” They are run via an e:cue control system. The ArcSource 48 MCs fit nicely into the original PAR 56 housings at NIDA, producing more Lux than their predecessors, with convection cooling ensuring silent operation


and each unit individually DMX addressable. The new lighting has transformed the look and feel of the foyer. With a virtually unlimited colour palette at everyone’s fingertips, the space can be themed and coloured for different events and occasions without needing additional equipment. NIDA is a high profile centre of excellence and training for gifted young people interested in professional careers in theatre, film and television and the performing arts, and everyone is delighted with the new investment. www.anolis.eu


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68  |  Page 69  |  Page 70  |  Page 71  |  Page 72  |  Page 73  |  Page 74  |  Page 75  |  Page 76  |  Page 77  |  Page 78  |  Page 79  |  Page 80  |  Page 81  |  Page 82  |  Page 83  |  Page 84  |  Page 85  |  Page 86  |  Page 87  |  Page 88  |  Page 89  |  Page 90  |  Page 91  |  Page 92  |  Page 93  |  Page 94  |  Page 95  |  Page 96  |  Page 97  |  Page 98  |  Page 99  |  Page 100  |  Page 101  |  Page 102  |  Page 103  |  Page 104  |  Page 105  |  Page 106  |  Page 107  |  Page 108  |  Page 109  |  Page 110  |  Page 111  |  Page 112  |  Page 113  |  Page 114  |  Page 115  |  Page 116  |  Page 117  |  Page 118  |  Page 119  |  Page 120  |  Page 121  |  Page 122  |  Page 123  |  Page 124  |  Page 125  |  Page 126  |  Page 127  |  Page 128  |  Page 129  |  Page 130  |  Page 131  |  Page 132  |  Page 133  |  Page 134  |  Page 135  |  Page 136  |  Page 137  |  Page 138  |  Page 139  |  Page 140  |  Page 141  |  Page 142  |  Page 143  |  Page 144  |  Page 145  |  Page 146  |  Page 147  |  Page 148  |  Page 149  |  Page 150  |  Page 151  |  Page 152  |  Page 153  |  Page 154  |  Page 155  |  Page 156  |  Page 157  |  Page 158  |  Page 159  |  Page 160  |  Page 161  |  Page 162  |  Page 163  |  Page 164  |  Page 165  |  Page 166  |  Page 167  |  Page 168  |  Page 169  |  Page 170  |  Page 171  |  Page 172  |  Page 173  |  Page 174  |  Page 175  |  Page 176  |  Page 177  |  Page 178  |  Page 179  |  Page 180