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DESIGN / CONSERVATION LIGHTING
NDYLIGHT created a design that arrayed all functional luminaires in a lighting channel along the top front edge of the enclosure to allow for easy maintenance outside the Quarantine zone. 86 separate lighting scenes run for three hours with a 60 minute transition period.
thousands of visitors who visit the exhibition daily are excited about the result.” The Penguin Bay installation consists of sixteen Exterior 410 LED fixtures mounted in the ceiling and seven Exterior 100 LED fixtures mounted underwater. Both lumi- naire types are designed for use in extreme environments and remain operational from -30 to +45 degrees Celsius. The LED-based lights require little maintenance, produce very little heat, and consume less energy than discharge source alternatives. Both luminaires can reproduce virtually any colour of the rainbow, including colour tem- perature shades of white, and are colour calibrated to ensure a 100% uniform colour reproduction.
The lighting installation is controlled by an intelligent system developed by Martin Professional that can be reprogrammed by LEGOLAND employees should there be a need for it.
www.martin.com
MELBOURNE AQUARIUM, AUSTRALIA As part of this project, NDYLIGHT worked with several specialist firms, including The Aquarium and its curatorial staff, Craig Thorburn from Thorburn Consultants (specialists in Marine engineering), James Hampton from Peddle Thorp Architects (spe- cialist enclosure design) and Armadillo Engi- neering (specialist mechanical services). The birds (King and Gentoo Penguins) were
not regular choices for such a project, where smaller species are often preferred so enclosure sizes can be reduced. With both species coming from the Antarctic, a place where the environment is essentially stark white and open, NDYLIGHT worked with the specialist consultants to develop an intensity range and time progression for the lighting within the enclosure. This pro- gression was based on a specific longitude and latitude in the Antarctic which effec- tively resulted in excessively long bright summer days and extremely short dim winter days. The lighting progression is split into 86 separate lighting scenes, with each scene roughly running for three hours with a 60 minute transition period. Due to the required intensities of light within the enclosure (which ranged from 4000 lux down to 5 lux) with a requirement for a smooth transition between all 86 scenes, the options for lamp and luminaire selection were limited. It was also a critical design requirement that fittings were not located inside the Quarantine zone, which would have made maintenance access very difficult and not desirable from an infection point of view. This effectively resulted in a design that arrayed all functional luminaires in a lighting channel along the top front edge of the enclosure, and all luminaires had to be selected so that light was pushed all the way to the rear of the space and maintained a high degree of uniformity
from back to front as well as laterally for all scene settings. Siteco A2 Midi and Maxi fittings were selected in metal halide lamp wattages ranging from 70W to 400W, augmented by dimmable halogen lamps ranging from 200W to 1000W. Each individual fitting was controlled separately to allow the required level of control to achieve all 86 scenes. In addition, dimmable linear fluorescent battens were also arrayed along the length of the channel to provide the lighting levels at the lower end of the spectrum as the day approached ‘penguin night-time’. Whilst the specification and modelling of the lighting was a key part of the design, the mounting channel was integral to the success of the enclosure as a whole. The design of this lighting channel required detailed co-ordination with the enclosure designers, specialist penguin consultants, the structural engineers and the specialist mechanical consultant to refine the design, and ultimately ensure it worked. Access from the enclosure side was not possible for quarantine reasons, and access from the visitor side was also not possible due to the vertical structural supports connecting the 100mm thick acrylic display window to the roof above. This resulted in the design of a separate access plenum above the channel with a continuous ‘access floor’ which allows for maintenance staff to move down the plenum and then remove
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