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Posts tagged ‘Theatre’

Lighting a Las Vegas Gastropub – Public House at the Venetian

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"public house" venetian "las vegas" vegas restaurant gastropub light lighting design architecture architectural

If you work in a creative or visual field, never underestimate the value of documenting your work as it’s happening.  You never know if you’ll get a second chance.

I’ve never really had trouble with documentation before, because, as a theatrical lighting designer, I was always in the same room as my work, right down to the end of the project.  I’d simply whip out my camera in tech rehearsal, setup my tripod, and take as many photos as I could fit on a memory card.  Often, the set designer and costume designer would be right next to me doing the exact same thing.  As an architectural lighting designer, I’ve learned, however, it isn’t always that easy.

Such was my experience on one of my first outside-of-New-York-City projects that opened in December of 2011: Public House, a new gastropub at the Venetian Hotel and Casino in Las Vegas.

"public house" venetian "las vegas" vegas restaurant gastropub light lighting design architecture architectural

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Rooftop Theatre: Lincoln Center’s New Venue, The Claire Tow Theater, and the Opening Production of “Slowgirl”

June 10, 2012

fischerlighting

Lincoln Center Theatre facade night light lighting LCT LCT3 "Vivian Beaumont" "Claire Tow" "New York" NYC architecture

Someone at Lincoln Center knows what they’re doing, and it makes me really happy.

A new theatre in Manhattan has just popped up in the most unlikely of places — on the roof of another theatre!  And it’s not just any roof; it’s the roof of the Vivian Beaumont Theater at Lincoln Center, the home of the Lincoln Center Theater and the current production of War Horse, a building originally designed by Finnish-American architect Eero Saarinen in 1965.  (You may recognize Eero Saarinen’s other prominent works of American architecture such as Washington-Dulles International Airport or the Gateway Arch in St. Louis, Missouri.)

Designed by H3 Hardy Collaboration Architecture, the new Claire Tow Theater sits lightly atop the monumental Saarinen structure, just barely peeking over the thick concrete roof as it looks down onto the reflecting pool and plaza below.  If you weren’t paying attention you’d almost miss it during the day, as its blue-green glass facade and low profile almost make it disappear into the sky vault above.  At night, though, the structure glows with light, providing a trim illuminated “cap” to the Beaumont Theater below.

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Architectural Lighting Calls vs. Theatre Lighting Calls

December 21, 2010

fischerlighting

Remember that time when I haven’t worked a theatrical lighting call in a year?  Well, I got a taste of those late-night hours again on Sunday night/Monday morning at my first architectural lighting focus call with Focus Lighting, where we aimed, accessorized, and reprogrammed almost all of the over 150 lighting fixtures at a new bar/restaurant on the Lower East Side between the hours of midnight and 8AM. You know, no big deal.

Despite the odd hours I was thankful for the experience because it was a huge opportunity to observe and learn first-hand how architectural lighting differs from theatrical lighting.  Plus, it really was a ton of fun!

The story was that Focus had been briefly consulted (read: called at the last minute) on the lighting design for this space, and the purpose of this work call was to follow up to ensure the space looked its best with the equipment that was installed.  The restaurant had already opened during the first week of December without having any of their massive number of adjustable accent lights aimed or accessorized by a lighting designer, so, since we couldn’t work during business hours (or during daylight, for that matter, due to the large skylight in the main dining room), we had to start at midnight.

We started to work just as the last few guests were leaving for the night, pulling all of the recessed accent lights out of the ceiling and adding diffusion, color, and louvers to them before replacing them and properly focusing them in their intended locations.  As we found out, almost all of the over 100 of these fixtures were mis-aimed, making the space feel unbalanced and underlit.  We fixed that problem quickly.  Other tasks on our list included refocusing all of the track fixtures in the main dining room, adding color to the effects niches in the same dining room, adding color to the lighted liquor stands behind the bars, and properly readjusting all of the lighting levels with the new colors and accessories in place.  It may seem like a short list, but when you have to maneuver a tall ladder around tables, sofas, and liquor bottles, it takes a bit of time.  We ended up finishing the focus portion of the evening at around 6AM, leaving just enough time before sunrise to reprogram all of the light levels in the restaurant.  One of the Focus staff trained me on the lighting controls and by the end of the night I was setting light levels like a pro!  We ended up leaving the restaurant at 8AM, just as the sun was lighting up the sky in the dining room skylight.

It certainly was a long night, but I learned a ton from the experience, including that architectural lighting focus calls aren’t that much different from their theatrical counterparts.  Aside from the fact that we aren’t responsible for hanging or circuiting the lights, we go in, add color and accessories, aim the lights, and set their dimmer levels — the same types of activities you’d find at a theatre lighting focus call.  They happen in very different venues, obviously, but are otherwise very similar.  The change of scenery, for me, was fun though.  It was fun to know that the changes we were making would be seen by people every day in a venue that wasn’t a theatre.  And look at the pictures — who wouldn’t want to spend a few hours working in a space as nice as that?

Many thanks to Focus designers Josh and Victoria for bringing me along and teaching me throughout the night!  It was great to finally get a hands-on experience that I would never find at school.  Like I’ve told a few people, you need to observe and experience light in a real space to have the knowledge to design with it — theories and principles are great for school, but they won’t develop your eye for design nearly as effectively as will manipulating light firsthand.  I hope I can continue to tag along and assist more in the future!