"I might not be where I am today if it wasn't for my time at NIDA," said Mel Gibson at the special opening earlier this year. He graduated in 1977 from Australia's National Institute of Dramatic Art. Baz Luhrmann, Cate Blanchett, Judy Davis, Colin Friels, Deborah Kara Unger and Hugo Weaving have all passed through these antipodean areas. The real stars of this piece however, are Sydney architect Ken Maher, Tony Youlden - NIDA's technical director, Barry Webb of Barry Webb & Associates and David Storie of Bytecraft Entertainment. This quartet is largely responsible for NIDA Stage II Project. A one million US dollar donation from Mel was probably quite helpful too.
Established in 1958, NIDA is an independent company with close ties to the University of New South Wales, has national status and is supported financially through the Department of Communications, Information Technology and the Arts (and donations from the likes of Mel Gibson).
NIDA provides training for theatre, film and television as actors, stage managers, lighting and sound designers, set and costume designers, scenery, costume or properties makers, directors, voice and movement teachers and writers.
Designed by Hassell Architects in association with Peter Armstrong Architecture, NIDA Stage II Project is an extension that has a three-storey glass faŤade and a sweeping multi-tiered veil feature over the foyer. It includes the 730-seat Parade Theatre, a cosy directors theatre, a studio sound stage, a new library and a radiant new foyer.
In June this year the NIDA Stage II Project won the coveted Sulman Award for public buildings. Ken Mayer accepted the award with project architect Nigel Greenhill in association with Peter Armstrong Architecture. Ken Maher is also a Sulman winner for the Sydney Olympic Railway Station. Next on his slate is a city skyscraper designed by Sir Norman Foster.
Foyer, veil, roof and Parade Theatre lighting, installation and supply was by Bytecraft which included house lights, control decks, dimmers and Griven Kolorados. Through very close discussion with Tony Youlden who is a lighting designer for over 30 years and more than 400 productions, together they were able to technically clarify and realise vital concepts and ideas. The newest additional detail is the Canadian MDG Atmosphere hazer - "Beams of light can actually be seen coming out of fixtures creating a stunning effect," commented David Storie, who by the way, is a NIDA graduate.
Master lighting engineers Barry Webb and Associates worked with the architects to come up with the basic nuts and bolts, power distribution plus public areas and foyer.
mondo*arc asked Webb's Project Manager, Iain Clark about the project:
mondo: How did Barry Webb and Associates become involved?
IC: Barry Webb and Associates has been associated with building lighting and electrical engineering services at NIDA for many years. We have also worked closely with the building Architect, Hassell for many years on a range of projects where lighting was a significant element in the design. Consequently, we were invited to submit a proposal for the lighting and electrical services when the project planning reached an appropriate stage.
mondo: What was your brief?
IC: NIDA prepared a technical, functional brief, based on room data sheets.
mondo: How did you fulfil it?
IC: We worked with the briefing documents, client and architect to define the scope of services.
mondo: How does lighting of the 'veil' relate to or connect with lighting on the roof?
IC: The same type of 1800W colour changing, DMX addressable luminaires (Griven Kolorado's) are used to light the veil above the roof - three are installed - and inside the foyer - six are used. The luminaires can be programmed from a desk to act in harmony above and below the roof, or individually. The colour changing routines may also be selected or programmed to suit a particular event.
mondo: What do you think are the most important elements in lighting NIDA?
IC: The most important element in the veil lighting is the combination of the dramatic, theatrical effects produced and the flexibility and ease with which NIDA technicians (and students) can change the image to suit circumstances. The result is to raise the profile of the whole institution within the Sydney community.
mondo: How closely did you work with the architects?
IC: We worked very closely with the architects, particularly in resolving the material and finish of the veil, so that it would be suitable for illumination with a wide range of colours.
mondo: What was the most interesting part of this project for you?
IC: From the outset, all parties were keen to provide the building with maximum flexibility for technological development, both in the range of facilities available and the complexity or sophistication, at the minimum cost. Funding was very tight and obtaining the best infrastructure for development of facilities over coming years was an important goal.
mondo: How does NIDA differ from other projects you've done?
IC: The client has a strong theatrical background (of course) and immediately recognised the power of the image which was being proposed, even from the earliest, conceptual stages.
mondo: Are there any peculiarities of lighting design in Sydney Australia as opposed to other countries or (Australian) States?
IC: Increasingly, we must pay particular attention to the environmental side effects of lighting, such as sky glow. We must comply with the restrictions on obtrusive lighting effects established by Australian Standards and ensure neighbours are not adversely effected.
As this issue of mondo*arc goes to press, it looks like NIDA is up for another commendation. The panel assessing nominations for the Illuminating Engineering Society of Australia & New Zealand Meritorious Lighting Awards visited the building in October and NIDA Stage II Project is the hot favourite for a well deserved lighting award.
Ironically, despite critical kudos, winning one of Australia's most prestigious architectural awards and being in the running for yet another, some NIDA neighbours were not so thrilled. Local Randwick Council has reportedly declared the NIDA site an "utter disgrace", apparently because a 25 metre wall at the back of the building overshadows facing houses. According to newspaper reports, and no doubt blissfully unaware of this, Mel Gibson's comment when he saw Stage II in all its splendour was "I must say I'm gobsmacked."
Architect: Hassell Architects with Peter Armstrong Architecture
Lighting Design: Barry Webb & Associates
Supplier/Installer: Bytecraft
Lighting Solution: 9 x Griven Kolorado 1800 CMY, 1 x Strand Lighting GSX console, Bytecraft Solution 28 dimming system
information:
www.barrywebb.com.au
www.bytecraft.com.au