–65–LIGHTINGLighting has a dual function: first, to emphasise the architectural characterand sublime effect of the <strong>Opera</strong> <strong>House</strong> and its major publicinteriors without interfering with views from the building; second, toprovide light to enable the building to function with reasonableefficiency. The latter should be arranged in a way that does notcompromise the former.Floodlighting of shellsFrom the beginning, the intention was to provide “gentle” or “lowlevel” floodlighting (Waldram, SOH, 1968, 2). The current floodlighting,designed by Julius, Poole and Gibson, was constructed as part of the1988 bicentennial work. The lights were erected on slender 12.5 metrepoles at the northern end of the lower forecourt and on the Man o’War Jetty (fig.48), and were fitted with control louvres. The heightenabled the light to bathe the full arc of the shells and the louvreskept the light above the eyes of people on the podium both withinand without the glass walls. In this way their view of the settingremained unaffected by glare. In location, directional control andintensity the present floodlighting is a reasonably successful executionof the early intentions (ibid., 2). However, technical advances may makeimprovements possible.Policy 20.1 Any adaptation of floodlighting should:• retain a monochromatic and medium intensity effect just brightenough to be distinctive in the <strong>Sydney</strong> night sky, but not harsh;• achieve as much modelling of the curvature of the shells as technicallimitations permit;• avoid hard horizontal shadow lines on the surface of the shells;• direct light in such a way that it does not interfere with the viewfrom the glass-walled foyers and from the external podium decks.From time to time, special effects may be required as a temporarymeasure. The Olympic Games bid celebrations in 1993 were an example.Policy 20.2 Temporary lighting for a particular manifestation is acceptableprovided it can be erected and completely removed without damage toany original fabric.See also ‘laser projections’ on page 90.Forecourt and podium stepsLighting is needed to provide modest illumination to the forecourt,Tarpeian cliff and podium steps. This is at present supplied by floodson a very tall slender pole set back against the trees at the edge of theBotanic Gardens and is supplemented by tinted floods softly illuminatingthe cliff. An identical pylon stood against the cliff near the presentgatehouse but was removed as redundant, presumably during the 1988repaving of the forecourt and development of the lower forecourt.Pedestrian ways on the periphery of the forecourt are illuminated bylamp standards and by lights concealed in handrails.Additional light is provided to the southern part of the podium andsteps by floods set at the apex of the Concert Hall and <strong>Opera</strong> Theatreshells. The baffles which originally shielded the lights have beenremoved and they are now a source of irritating glare.48. Sketch showing location of pylons forfloodlights. JSK 1993.
–66–Policy 21.1 Any adaptation or development of the general illuminationof the forecourt area should:• be sufficient to relate the night form of the <strong>Opera</strong> <strong>House</strong> to its peninsularsetting but not of a level that would compete with the shellillumination;• continue to be set at a height and so baffled that glare is eliminatedfrom the eyes of pedestrians;• render the colour of natural materials as accurately as possible;• employ the minimum equipment necessary for the job and locate itas unobtrusively as possible.Policy 21.2 Any black spots which may endanger a reasonably awarepedestrian should be illuminated by task lighting which visually complementsthe existing family of equipment.Major interior spacesIn 1967, two major manufacturers of lighting in Australia, the (English)General Electric Company and Philips combined to form G.E.C.Philips <strong>Opera</strong> <strong>House</strong> Lighting Co. Pty Ltd. Having been chosen todesign and supply the lighting for the <strong>Opera</strong> <strong>House</strong>. G.E.C. appointeda United Kingdom consultant, John Waldram, Philips seconded a staffmember, Fred Drijver, and the pair combined with Hall, Todd andLittlemore and the electrical consultants, Julius, Poole and Gibson, todesign a lighting environment for the building (Littlemore, SOH, 52, 78, 101, 162;Hall, SOH, 180–181).Waldram was well chosen. He was an experienced and articulate operator—itwas no coincidence that he had gained a reputation lightingEnglish cathedrals without cluttering up the place with visible fittings(Hall, SOH, 181). Utzon, with his several published cathedral analogies forthe <strong>Opera</strong> <strong>House</strong>, might have appreciated the choice. Hall later wrote:Waldram saw lighting and architecture as inseparable. Drijverwas himself an architect and I had years earlier developed anacute interest in lighting… There was, as there should havebeen, a strong architectural bias in the lighting design team (ibid).[Our] main aim was to integrate the lighting with the architectureand to display it without displaying the lighting itself (Hall toHughes, 4.1.93, 2).Waldram’s report of February 1968 described the approach and envisagedthe sequential effect presented in the summary below:Vehicle arrival concourseThe vehicle arrival concourse was to have subdued general lighting “asa preparation for later views”, supplemented at kerbside by sufficientlighting for dismounting from and mounting cars. In additionconcealed lighting of low intensity was to be used to emphasise thefolded beams overhead (Waldram, 5–6).Stairs to Box Office foyerThe four stairways which led to the Box Office foyer were to be “morebrightly lit” to attract arrivals to them and were to have their foldedbeams emphasised (ibid, 6).Box Office foyerThe level of lighting in the Box Office foyer was to be “not very high”but patrons were to be attracted to specific “well lit” destinations suchas the ticket sales counter and the stairs to the foyers under the southernshells (ibid, 7).
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