if you will this is where we live, a great waterway that is a mix
of the Pacific Ocean and fresh water. Here at the confluence of
salt and fresh water are mangroves, which harbour and protect the
spurning fish and grazing stingrays. Ancient magnificent cliff faces
tower over one, as you look up at the gum trees; Australian spotted
gums and angophoras, which bloom in family groves, trees that daringly
plunge to the waters edge and hang high on steep sandstone escarpments.
What I soon discovered about architectural lighting was to light
the set and in this case the building itself. Lighting the set rather
than the actors is what I do for the most part. I created the fill
light in this case as a bounced light. This meant that the people
moving about this architectural environment were lit by reflected
light. I used frosted glass, low voltage lamps encased in solid
marine grade brass housing with their own snoots which suited the
boat-like detailing of the architecture.
It did not finish there however, as part of the assignment was
lighting a confined area where I designed my own 1.6meter soft box
to mimic the direction of the daylight from the attic skylight.
was a fabrication of stainless steel that I had made up in mirror-back
surface and sandblasted the outside to blend in with the skylight
area. The light sources were cool light, which I measured to be
about 5,000 degrees Kelvin and as long life units, that gave me
the foot-candles without too much heat. I find the process of Lighting
Design in an architectural situation no different than when I am
drawing up a light concept and plan for a feature film.
As a final note, Richard who is one of those people in life one
likes to take a measure of ones own value and purpose in life, has
become a proven friend. He is more than an architect, boat designer,
father and educator. Dare I say he is despite a time of greed, grunge
and uncertainty a Renaissance man.
He then invited me to refurbish a magnificent 16 foot custom sailing
ah this is another adventure!