Lighting journal april

LIGHTING

JOURNAL The publication for all lighting professionals

Travelling light: the growth of transport hubs Anatomy of a lighting festival – what put Durham on the map

April 2015

Welcome to the UNESCO –

k c a r t ght

i r e h on t Meet a range of organisations offering lighting technology, products and services in our fascinating exhibition 21 May 2015 10am-4pm Northampton Saints Rugby Club

free CPD seminars The Rail Alliance The ABC of Apprenticeships How to Light a Level Crossing

Book your free visitor place today! free for pre-registered visitors entrance CPD seminars refreshments parking

theilp.org.uk/ lightscene Hosted by the MIDLAND and LONDON & SOUTH EAST ILP regions

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Editorial Volume 80 No 4 April 2015 President Mark Cooper IEng MILP Chief Executive Richard G Frost BA (Cantab) DPA FIAM Editor Jill Entwistle Email: jillentwistle@yahoo.com Editorial Board Tom Baynham Emma Cogswell IALD Mark Cooper IEng MILP Graham Festenstein CEng MILP MSLL IALD John Gorse BA (Hons) MSLL Eddie Henry MILP MCMI MBA Alan Jaques IEng MILP Nigel Parry IEng FILP Richard Webster Advertising Manager Julie Bland Email: julie@matrixprint.com

A

s was recently demonstrated by a recent court case where a young woman sustained life-changing injuries when she walked into a bollard (Hidden consequences, p8), it is vital that public spaces

are adequately lit. That is a function of good exterior lighting – that people can safely and securely navigate the streets at night. However, in an increasingly litigious culture, there is a danger in lighting as in other fields that overengineering and overcompensation creeps in. Someone recently expressed the opinion that the award-winning scheme for King’s Cross Square was ‘too dark’ from this point of view, despite the fact that people are flocking to and lingering in what is a very carefully considered and pleasantly lit space (which also met some very stringent criteria). Legal considerations should clearly inform schemes, but fear of litigation should not drive lighting design. The human race has managed to evolve to this stage of its development without, for the most part, black and yellow sticky tape on every potential hazard.

Overlighting and excessive uniformity equally despoil the environment.

Published by Matrix Print Consultants on behalf of Institution of Lighting Professionals Regent House, Regent Place, Rugby CV21 2PN Telephone: 01788 576492 E-mail: info@theilp.org.uk Website: www.theilp.org.uk Produced by

Matrix Print Consultants Ltd Unit C, Northfield Point, Cunliffe Drive, Kettering, Northants NN16 9QJ Tel: 01536 527297 Email: gary@matrixprint.com Website: www.matrixprint.com © ILP 2015 The views or statements expressed in these pages do not necessarily accord with those of The Institution of Lighting Professionals or the Lighting Journal’s editor. Photocopying of Lighting Journal items for private use is permitted, but not for commercial purposes or economic gain. Reprints of material published in these pages is available for a fee, on application to the editor.

Lighting Journal April 2015

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Contents

LIGHTING JOURNAL April 2015 03 EDITORIAL 04 NEWS

30 SUBTLE DISTINCTION

08 ENLIGHTEN

Is switch-off worth it? Nick Smith examines a recent court case with implications for part-night lighting

10 TRAVELLING LIGHT

10

Integrated transport hubs are a key growth area, according to David Burton

16 ANATOMY OF A

LIGHTING FESTIVAL

Helen Marriage of Artichoke, creator of Lumiere: Durham, on how to put a city on the map

22 ALTERED ESTATES

Joanne Entwistle, Don Slater and Mona Sloane explain the Urban Lightscapes/Social Nightscapes initiative. Participant Graham Festenstein gives a lighting designer’s perspective

26 EYE OF THE

BEHOLDER

Winner of the the ILP’s award for

16

Best-Written paper in the 2014 YLOTY competition, Veronika Labancova looks at the impact of ageing on light quality perception

Jill Entwistle singles out four winning schemes from this year’s Lighting Design Awards

36 CROSSING

EXAMINATION

Kevin Cleary outlines the all-LED

lighting design concept for a brand new bridge in Dublin

38 VALUE JUDGEMENT

VPs’ column: Scott Pengelly, new VP events, on the ILP programme and the need to continually improve and evolve it

40 PRODUCTS 42 THE MECHANISM

Light on the Past: Simon Cornwell reveals how this mysterious ingredient of successful lighting installations was discovered

45 CONSULTANTS 46 LIGHTING DIRECTORY 48 DIARY

COVER PICTURE

Affinity, Banco de Crédito building, Lima, Peru, one of the winning schemes from this year’s Lighting Design Awards (Subtle distinction, p30)

34

Lighting Journal April 2015

4

News

BODY CLOCK EXPERT GIVES ILP LECTURE AT ROYAL INSTITUTION A leading expert in visual and ciracadian neurobiology will be giving a lecture at the Royal Institution in June in a major ILP event for the International Year of Light.

Russell Foster is Professor of Circadian Neuroscience and head of the Department of Opthalmology at Oxford University.

The main focus of his studies is on the mechanisms by which light regulates vertebrate circadian rhythms. His lecture, Light, Time and Health: Biology to Architecture, will also look at how this applies to the built environment.

‘The discovery of a “third” class of photoreceptor within the eye has not only transformed our understanding of ocular biology, but has raised critically important issues relating to the importance of being exposed to the natural cycle of light and dark,’ says Foster. ‘This presentation will consider the discovery, biology and clinical relevance of pRGC [photosensitive Retinal Ganglion Cells] photoreceptors and how we might use this information in building design.’

Also a Nicholas Kurti Senior Fellow at Brasenose College, Foster was awarded the Honma prize (Japan), Cogan award (USA), and Zoological Society Scientific and Edride-Green Medals (UK) for his discovery of non-rod, non-cone ocular photoreceptors. He is the co-author with Leon Kreitzman of Rhythms of Life, a popular science book on circadian rhythms.

Light, Time and Health: Biology to Architecture will take place at the Royal Institution, London, on the evening of 10 June. For more details go to www. theilp.org.uk/events/professor-russell-foster/

Light headed An exhibition of portraits ‘painted’ in light went on display at Amsterdam’s Rijksmuseum at the end of last month.

In an exercise sponsored by Philips, the Dutch public were invited to upload a picture of themselves on to the company’s website. A selection were then composed into portraits by artist and illustrator Eelco van den Berg using LEDs. The Night Exposition display was designed to promote the Late Rembrandt exhibition display in the Philips wing of the museum.

‘I enjoy juxtaposing bright colours with dark, earthy shades,’ said Van den Berg. ‘As in Rembrandt’s paintings, the contrast between light and shade plays an important role in my work, lending intensity to the artwork.’

Lighting Journal April 2015

Get smarter initiative

The EIP (European Innovation Partnership) Smart Cities and Communities Market Place will be holding its General Assembly on 21 May in Berlin at the Metropolitan Solutions Trade Fair 2015.

A key strand of the EIP, set up by the European Commission, is a market creation initiative designed to accelerate the development and implementation of smart lighting. Dubbed The Humble Lamppost, the aim is to bring interested organisations – potential buyers, sellers and makers of the technology – together to develop the smart lighting market. The project is led by Graham Colclough of Urban DNA, a smart cities advisory firm.

The objective is to get 10m smart lights on to Europe’s streets by 2017. It has been estimated that Europe could save €2bn a year on electricity bills by upgrading its 60-90m street lights. In addition to making street lighting more efficient, the project is about building intelligence and communication into lighting infrastructure to enable other smart city initiatives.

So far around 25 organisations have joined including manufacturers Philips and Schréder.

The London Borough of Greenwich is involved, as are Paris and Madrid, together with clusters of smaller cities in the UK, the Netherlands, Italy, Switzerland, Finland and Estonia. Schneider Electric, telecoms company Orange, and a number of energy suppliers and technology companies have also signed up to the initiative.

Each participant has made a commitment to help build the market, and the EC is running a series of events and an online ‘marketplace’ to help them collaborate. l Barcelona has been named Global Smart City 2015, beating London, New, York, Nice and Singapore, according to mobile and digital technology sector analyst Juniper Research.

It said the Spanish city performed well across areas such as smart grids and smart traffic management. The company also considered smart street lighting and each city’s technological capability and social cohesion.

According to Juniper, smart grid initiatives will achieve more than €9.5bn savings annually by 2019 based on a combination of reduced energy consumption and the reduction of emissions.

News

5

Glasgow gets green light from GIB The Green Investment Bank (GIB) has finalised an agreement to fund the first wave of Glasgow City Council’s plan to replace 70,000 existing street lights with LED fittings.

This will finance the initial replacement of 10,000 traditional street lanterns along the city’s main arterial roads at an expected cost of £6.3m. They are estimated to cut energy use by half and reduce carbon emissions by more than 18,000 tonnes over the next 18 years.

The next phase will see the replacement of a further 60,000 street lanterns and their columns, and is complementary to the City Centre Future Cities Demonstrator Project,

which will incorporate intelligent lighting.

In reaching a final agreement with Glasgow, GIB says it has now produced a standardised process which other local authorities can use when agreeing a finance package to convert their street lighting estates.

This includes a route-map to help local authorities develop a business case for switching to low-energy street lighting; a financial model to demonstrate how the loan can be shaped so that interest and repayments are only made from forecast savings, plus standardised loan documentation. According to GIB, less than 10 per cent of the UK’s

7.4m street lights are currently fitted with LEDs. ‘Uptake of LED street lighting has been slow so far, but we have spoken to more than 100 local authorities across the UK over the past year and believe one of the barriers is the impact the upfront cost of replacing bulbs with LEDs, columns and intelligent management systems would have on annual budgets,’ said Gregor Paterson-Jones, managing director of Energy Efficiency, GIB. ‘But the GIB’s Green Loan can help councils to spread that cost over up to 25 years, increasing loan repayments as the savings increase and showing real spend to save.’

Arup rethinks city lighting Following on from its recent exhibition, Arup has launched a publication on urban lighting, Cities Alive: Rethinking the Shades of Night.

Produced by Arup’s Foresight + Research + Innovation and lighting design teams, it puts people at the heart of night-time lighting design, it says, examining how to create intelligent environments that adapt and react to enable 24hour cities.

The publication analyses existing research and trends in urban lighting design to show how rapidly growing populations, expanding cities and the emergence of new technologies create opportunities to rethink the design and function of cities at night.

‘The report highlights that we need to make human-centred night-time design a priority in urban development, and one

that should be considered from the earliest planning stages,’ said Florence Lam, global lighting design leader at Arup.

‘It proposes that night-time lighting should play a more active role in shaping sustainable cities that are more enjoyable, more sociable, safer and healthier, as well as easier to get around.’ www.arup.com/ Homepage_Cities_ Alive.aspx

Tunnel gets £2m upgrade Graphene LED lamp is a UK first The £2m Pen Y Clip tunnel refurbishment on the A55, known as the North Wales Expressway, was scheduled for completion last month.

M&E and HVAC services specialist SPIE was appointed principal contractor and worked with Philips to replace the existing lighting with LEDs. The upgraded system is expected to reduce energy and carbon emissions by up to 50 per cent.

The scope of work involved the design, supply and installation of the LED lighting scheme and infrastructure upgrades.

This included the electrical and mechanical services, covering the installation of the 900m linear support grid and containment, and fitting the LED linear base and boost lighting system.

SPIE was involved in the original design 20 years ago.

The Wesh government’s Ancilliary Framework Agreement offers five contractors exclusivity in tendering for roadside and tunnel communications, mechanical, electrical and associated civil engineering works throughout Wales.

The A55 runs from Chester to Holyhead Docks.

A graphene LED lamp has been launched by a University of Manchester research and innovation partnership.

The graphene in this case acts as a heatsink. Used as a coating for the LED it transfers heat away from the components.

This will result in a longer lifetime and lower manufacturing costs, according to Graphene Lighting, a spinout based on a strategic partnership with the National Graphene Institute (NGI) at the University of Manchester.

It is believed to be the first commercial application of graphene to emerge from the UK, and is the first application from the £61m

Chancellor George Osborne and Sir Kostya Novoselov with the graphene LED lamp

NGI, which only opened last month.

The graphene lamps are scheduled to be on the shelves in a matter of months, at a competitive cost.

Graphene was isolated at Manchester University in 2004 by Sir Andre Geim and Sir Kostya Novoselov, earning them the Nobel prize for Physics in 2010.

Lighting Journal April 2015

6 News NEWS IN BRIEF The LIA’s Peter Hunt has become vice president of LightingEurope, a position he will hold for the next two years. LightingEurope is an industry association of 30 European lighting manufacturers, national associations and materials companies. Current president is Jan Denneman of Philips.

UK WEEE lighting industry compliance scheme Recolight has appointed Peter Florack, senior director at Osram, as chair. Florack replaces David Wyatt of GE Lighting who retired at the end of last year after serving as chair for seven years. Steven Reed, commercial operations manager of GE Lighting, has rejoined the board after a seven-year absence.

A selection of Robus products made by Irish lighting company LED Group are the first to receive approval under the LIA Laboratories Verification Scheme, operated in partnership with the EST.

Meditation without the mantras

It’s perhaps symptomatic of modern society that people would seek out a short cut to achieving the meditative state, but apparently the US-made Lucia No 3 LED light offers just such a fast track to mental switch-off.

The prospective meditator sits with their eyes closed while it emits a pulsing, whirring light on to their face. This is designed to stimulate the pineal gland, leading to the person seeing a whirring array of colours and shapes. Vice magazine once said that the experience is ‘a bit like doing drugs, but without the comedown and achy jaw’.

The device was developed by two individuals with suitably boffinish names, neurologist and psychologist Dr Dirk Proeckl, and psychologist and psychotherapist Dr Engelbert Winkler. It is linked to a computer programme which generates the light sequence, and pairs it with music.

The path to nirvana doesn’t come cheap and at the moment Lucia No 3 sells for around £13,000. The main customers so far are holistic therapy businesses.

Philips sells Lumileds division Philips has sold an 80.1 percent stake in its lighting components division for $2.8bn to Go Scale Capital, a technology fund.

The move is a prelude to Philips spinning off its main lighting division to focus

on medical technology and selected consumer products.

According to Philips the deal values the components business, which comprises the Lumileds business and an automotive lighting unit, at $3.3bn including debt.

Philips said it wanted to sell the subsidiary, to be called Lumileds, because so many of its customers compete with Philips itself.

20 per cent of component sales are to Philips’ own main lighting business.

The following are new corporate members of the ILP for 2015: Aecom Al Read Electrical Assured Coatings Braham Electrical Endo Lighting Corp EroPhos FM Conway Mott Macdonald Minimise Energy Paul Nulty Lighting Design * *PNLD is the ILP’s first corporate practice member

Lighting Journal April 2015

Brian Clewley (pictured left with national sales manager Andrew Jackson) has joined Charles Endirect as area sales manager for London and south-east England.

Clewley previously worked in sales for Signature and Lucy Zodion. He is a member of the ILP’s London and South Eastern regional committee.

Kingfisher Lighting has appointed Mark Beaver as sales director. Beaver comes from a background in industrial goods and projecting. ‘The lighting industry is clearly a dynamic and technological sector, joining Kingfisher at such a time of market change is very exciting,’ he said.

Transparent 3D printed optics specialist LUXeXceL has introduced a new online ordering platform. Users and designers can upload a file in a private and secure online environment where it will be automatically checked for printability. A quote will also be available automatically. www.luxexcel.com/upload UK commercial lighting manufacturer Future Designs has switched its entire luminaire range to LEDs. ‘We have been progressing towards the mass adoption of LEDs for some time but we had to be certain that the technology we were advocating had been thoroughly tested and would serve our clients well,’ said managing director Dave Clements.

Shona MacDonald has joined the LIA as a market research analyst. She will initially be responsible for researching the UK lighting industry, creating annual reports on key statistics and data.

Her remit will eventually extend to international markets.

Urine is probably some way behind photovoltaics and wind as a power source, but a prototype toilet that uses it to generate electricity has been installed on the University of the West of England campus in Bristol. Microbial fuel cell stacks convert the urine into sufficient power to light up the cubicle. There is a serious aim: to provide safer sanitary facilities in refugee camps.

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8 Opinion

LIGHT

Share your experiences, opinions and thoughts

Hidden consequences Is switch-off worth it? Nick Smith outlines a recent court case which he argues has implications for part-night lighting

I

n recent months I have seen a number of instances where councils are choosing to switch off their street lighting in an attempt to save money. It has been a point raised on social media, in many blogs and as part of online debates. It has also made regional TV headlines following the BBC programme Inside Out revelation that street lights were being turned off by some local authorities without the necessary risk assessments being carried out.

As a lighting engineer I will never be convinced that switching off street lighting to save money is the right thing to do. If we are lighting engineers then we should act accordingly. If the road is not used, take the lighting out. We have always based our lighting levels on the usage of the area and as the usage increases the lighting levels should do too. The same applies in reverse – as usage reduces the lighting levels can be altered in the same way.

LED lighting is so flexible that it allows almost any level to be applied providing that it is considered at the design stage. It does not even have to be driven by CMS any more as the ballast can be preprogrammed to vary the light level at specific times and, in some instances, be reprogrammed as necessary simply by plugging in a USB stick.

Some will say that the council has the

Lighting Journal April 2015

right under section 97 of the Highways Act 1980 to light or not light. But many lighting engineers are being put in awkward positions where they are being ignored by the management holding the purse strings within the authority, who are demanding lighting be switched off to save money. As a way of highlighting the consequences of switch-off or poor lighting levels, the following may be of interest to some of you.

On Saturday 16 August 2008 an incident occurred on a subway ramp close to midnight where a member of the public walked into a concrete bollard while accompanied by two friends. She walked into it because there was insufficient light for it to be seen. The bollard was positioned in the middle of the ramp to stop vehicles being driven down there. As a result of the incident, a young woman who is now in her early 30s had to resign a fairly senior position with her employer and will be required to walk with a stick for the rest of her life. This case could be considered as a legal precedent.

The case was extremely legally complicated due to the ownership of the land not being clear. Where the bollard was erected was only partially adopted and it was not well documented who actually maintained the ramp and subway. Some of

the area was the responsibility of the county council and some the district council. This was further complicated by the change from a development corporation in the post-war era to the district council in the early 1970s.

There were also poor records about who had installed the bollard or when it had been installed, and even why the bollard was installed. It was also not retro-reflective.

During the initial hearing, it was proposed that the lighting in the subway was not completely operational and a number of the lamps in the subway fittings were not illuminated. The levels were so low that the ambulance crew had to ask the attending police officers to hold torches so that they could see to stabilise the claimant.

Following the initial hearing the court requested expert witnesses be called for the claimant and the defence. I was called in this capacity for the claimant to investigate the existing lighting levels and prepare a report for the court on the findings. An expert witness was also appointed by the defendants.

The subway was built as part of the new town development in the late 1960s.

There were Bergo subway fittings set into the ceiling of the subway, a common method in the day. To the north of the subway, columns of approximately 5m in height were

Opinion 9 used to illuminate the ramp, which was a continuation of the subway. To the south, after exiting the subway, the ramp went east and west depending on the desired direction of travel with a small retaining wall in front of the subway exit. There was no specific lighting associated with the area of the site.

There was lighting on the main road above the subway but the retaining walls of the subway blocked out this lighting.

The question of what should be the correct lighting level for the subway ramp was a matter of great debate. There was discussion of what the legal definition of a ramp was because BS5489 does not specifically have a definition. While employed as an assistant lighting engineer at Hertfordshire County Council, I was involved in the relighting of many subways and associated ramps, so the application for BS5489 was quite clear to me.

The section of subway lighting in BS5489 has changed very little over the years. I still have a copy of CP1004 (which preceded BS5489). In my view a subway ramp should be lit to an average of 30 lux and minimum of 15 lux as stated in BS5489.

The north ramp was in fact lit to an average of 15 lux, which seemed very adequate at the time based on other levels around the ramp and that formed part of the evidence delivered. In a written statement, the defendant’s expert witness claimed that it was a footpath and therefore a minimum of 0.6 lux was appropriate (S5/S6), although he gave no methodology about how he had arrived at this conclusion. The defendant’s expert was not present in court.

Witness statements asserted that some of the subway lighting was not fully operational. In his summing up, the judge said that the precise state of these lights was of limited relevance. ‘All six lights were working at the time of the experts’ inspection on 24 May 2012,’ said the judge.

‘The expert evidence, combined with the descriptions I have heard of the scene on the night of the accident, satisfy me that to a newcomer to this path the bollard was near to invisible, even if all six lights in the underpass were working. I had previously come to the same conclusion after having tripped over the same bollard at night.’

The lighting levels at the bollard at the time of the inspection were 0.2 lux.

As part of the case, a number of witnesses were called from the council who outlined maintenance methodologies, night patrolling processes, details of outages and the associated follow up to maintain the lighting after outages were reported. This process was all well documented in procedures and maintenance records. The problem was that the lighting levels were just not adequate.

The judgement handed down by Robert Francis QC was to find the second defendant liable for damages and associated costs.

The settlement was in the order of £300,000. I don’t want to specifically make a record of the council involved, but suffice to say the verdict is a matter of public record and should anyone require further information my contact details are at the back of Lighting Journal.

While discussing switch-off with a street lighting colleague recently, I was told that he had carried out a detailed assessment of

the costs. The saving involved in part-night lighting was, on average, in the order of £1 a year. On the basis that the authority in question has around 150,000 lighting points, that is the part-night switch-off benefit blown for two years.

To light, to not light or switch off is still the question? Make your own judgements. If you still go ahead with switching your street lighting off, perhaps I will see you in court?

Nick Smith Associates is an independent exterior lighting consultant

LETTER The contentious article by Nigel Parry in the March 2015 edition of the Lighting Journal has a strand of truth running through it.

He puts forward the idea that lighting engineers may become as extinct as the dodo due to the rapid advance of digital technology.

Nigel is right when he says that the developing use of automated intelligence systems that are capable of delivering lighting when and where it is required provides endless opportunities for local authorities to make savings and also increase efficiency.

There is no doubt that the lighting industry is undergoing rapid change at the present time. As a profession we must go along with it, but in my view lighting engineers will always be necessary in order to deliver strategic planning, to decide on technical policies and to act in a client capacity on behalf of the customer or local lighting authority.

In any case, I am a firm believer that lighting engineers never die – they only burn to extinction.

Neil Macaulay, past president

Lighting Journal April 2015

TRAVELLING

LIGHT Integrated transport hubs are a key growth area, says David Burton, and lighting is becoming an exciting as well as essential ingredient

Effective use of natural light is vital: Hoare Lea’s award-winning daylight study for Heathrow T2

N

ot so very long ago, if you wanted to catch a train, you went to a railway station. If you needed a bus, the bus station or stop. Sometimes you got lucky and the two would be adjacent, but this was rare. Remember Heathrow Airport before the Tube and Heathrow Express got there? And now you can travel internationally from the UK by train. What does all of this mean for our profession, and where is it going?

Well, first and foremost, social trends mean that more and more people want (or need) to travel on a regular basis – and for longer distances. Although the car is still king, if it’s possible to make a door-to-door journey by alternative means, this is becoming increasingly attractive. With more road-use charging inevitable, paying at point of use for motoring will demonstrate to car users that driving around the country is not as low cost as was once thought.

Improving the integration of the various means of transport is essential, and the point of interchange needs to be given careful thought.

All governments and local authorities realise this and so do the major

Lighting Journal April 2015

Modern transport hubs need lighting that meets the needs of the operators, the expectations of the users and, most important, enhances the hub environment in a way that maximises commercial opportunities

developers, not least because pretty much every transport interchange presents a significant retail opportunity.

In Hong Kong, the Mass Transit Rail Corporation (MTRC) has for more than two decades been funding rail projects as part of major commercial developments. The mind-set is to build shopping malls with metro stations in the basement, rather than building a railway with some shops on top.

Railways have always been big real estate owners, but increasingly the rail infrastructure owners are moving towards deriving as much income from property as they do from running trains. This trend began with the airports and, whether we like it or not, walking past a row of shops to reach your aeroplane, train, bus or coach is here to stay and a necessary evil to meet the cost of public transport provision.

Whether a transport hub is a new development as part of a project such as the High Speed 2 (HS2) rail link or a redevelopment of existing infrastructure, there will be a lot of heavy engineering and building services involved. Lighting is a key element, not purely for the functional

Infrastructure

11

aspects of the space but for a whole range of environmental, aesthetic and promotional reasons too.

When a bus station was just a few shelters adjacent to the highway, it used borrowed light from the street lighting, supplemented by a few columns to aid safe movement.

Similarly, railway stations were provided with the bare minimum of functional lighting on platforms with perhaps a little more in the booking halls and waiting rooms.

When commercial air travel became widespread in the latter half of the last century, much more lighting was needed. The interior spaces had to be bright for the many visual tasks which took place, retail was an integral part of the commercial operation and ‘passenger experience’, and lots of light was needed for safe movement in external areas. By the mid-1960s, some lighting companies were heavily reliant on lighting for airports and airfields for their core business.

Modern transport hubs need lighting that meets the needs of the operators, the expectations of the users and, most important, enhances the hub environment in a way that maximises commercial opportunities.

There are some basics that need to be borne in mind: • Consider the approaches to the hub – how will people arrive, can they orientate themselves?

There will need to be integration with third party lighting external to the development, for example, highway lighting • The external environment needs careful thought. The hub needs to be clearly identifiable but its lighting should not be loud or obtrusive • What happens when people arrive? Can they find their way around? There will be signage, but unless the lighting enables this to be used effectively, passenger flow will be restricted, limiting capacity and extending journey times • Are the applicable standards really appropriate? Most of the codes and guides suggest illuminance values rather higher than is really necessary for the parts of the interchange where people move rather than dwell. You may have to challenge the use of standards • The lighting must be an integral part of the architecture. If the lighting design team doesn’t get on board in the concept stages of the

King’s Cross Square by StudioFRACTAL (above) and Shenzhen Bao’an airport by Speirs and Major

•

•

•

•

project, the resulting architecture and lighting will be sub-optimal There will be many different surface finishes across the various areas of the hub – and interior as well as exterior spaces. Light source colour performance is important to ensure that the lit effect is appropriate in each area Many different types of user will access the interchange with wideranging needs and visual abilities.

Getting the lighting right for those with vision problems will make the environment better for all users Transport operators will expect the elements of the lighting designed for their areas to last a lot longer than that intended for retail areas You need to be sure that evacuation needs are catered for by appropriate emergency lighting – this will be very different from

the emergency lighting used in a typical commercial building • Last, but most definitely not least, make effective use of daylight.

This is not hard if you get involved in the design early, and daylight can even be introduced into sub-surface stations Once the layout and passenger flows of the hub have been established, along with the manner in which subsidiary developments integrate with the transportation areas, the detailed lighting design can be progressed. Those responsible for the retail areas will, of course, want their lighting to promote the goods and services being provided, but this must not conflict with the lighting for adjacent areas. It is often difficult for the core area lighting designer to influence the retail lighting, but

Lighting Journal April 2015

Infrastructure

working with the retail designers is the best way to ensure a complementary lighting design. Most important, the design team has to ensure that there are no lighting conflicts and that wayfinding and orientation are not compromised by the bright lights of the retail outlets.

Although there has been some convergence of lighting products suitable for general and transport environments, it’s worth noting some of the factors that will be important to the operators and maintainers of the transport areas of the hub: • A detailed asset list is essential as part of the operation and maintenance manual provided by the lighting designer. The operator needs to know what equipment he has, where it is, and how it is accessed • You as lighting designer need to tell the operator how the installation should be maintained in order that its performance does not degrade. This means prescribing maintenance intervals and activities if you haven’t been given this detail as part of the design brief • Controls are an integral part of the lighting design, they are not an optional add-on. A wellthought-through control and condition monitoring system will pay back over the lifetime of the installation by both reducing energy consumption and optimising maintenance • Transport hubs operate for very long hours – many are 24/7 operations. This means that access for maintenance is disruptive and costly – ensure that lighting equipment can be maintained easily • Lighting product specification must be well thought through and firm.

For example, a product used in a sub-surface metro station must have the correct fire performance, a substitute luminaire may not be acceptable. But don’t overengineer the lighting scheme • Use lighting contrast wisely. A bland, uniform environment is as bad as one with extreme variations in brightness. Changes should be gradual and controlled • Think carefully about appropriate IP ratings – if a luminaire is readily accessible for maintenance and in a dry, clean area, IP66 is overengineered. If the fitting is

Lighting Journal April 2015

way up high and exposed to the elements, then that’s the time to use higher levels of tightness • Often overlooked – cable entries and terminations. BS7671 voltage drop requirements often mean larger cable sizes than luminaire manufacturers cater for.

Termination boxes may be needed on long circuits • Use the most appropriate light source for the application. Although LED lighting is now in a mature state, with products suitable for most applications, some fluorescent and induction lighting is still cost effective in many cases • Be creative. These are exciting environments to light, make the most of the opportunity In summary, the present trend to larger, integrated transport hubs is set

to continue for the foreseeable future, providing opportunities for the lighting profession and the lighting industry.

Crossrail, the new underground line currently under construction in London, is Europe’s largest infrastructure project, and every one of the central area stations is a transport hub. Whatever decision is ultimately made over the expansion of London’s airports, these too will need lighting as they evolve to meet demand. And there will at some point be HS2, again each of its stopping points becoming a major transport hub.

This is truly a growth area, and one where lighting can do much to enhance the passenger environment.

Dave Burton is principal of engineering consultant Tekkyrailguy

Doha’s Hamad International Airport: designed as the official gateway to the Middle East and as the benchmark for airports

Photograph by Ameer Abdul Razak

12

Lighting is a key tool for wayfinding: award-winning scheme for T2 by StudioFRACTAL and Hoare Lea

city.people.light award contest 2015

Is your lighting project a

winner?

Submit your urban lighting project now to join the 13th international city. people.light award competition and win â‚Ź 10,000. You can submit your project by completing the entry form on our website (scan the QR code).

The international city.people.light award was set up in 2003 by Philips Lighting and the Lighting Urban Community International association (LUCI).

It rewards cities and villages that best demonstrate the added value that lighting give to improve urban, social and economic development, while at the same time respecting the environment. Three projects will be awarded during the annual LUCI meeting, which takes place in Helsinki in Finland. The winning project will receive the first prize award and â‚Ź 10,000.

Do you have a winning lighting project?

Go online and join the contest. The contest is open from 1 March till 12 June 2015.

Leipzig, Germany Winner city.people.light award 2014 The award ceremony takes place in Helsinki, during the Annual LUCI meeting at 25 September 2015.

city.people.light

award 2015

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Road lighting trends towards energy saving Thorn has been involved in road lighting since the early innovations; we developed and applied many of the light sources and luminaires, consistently driving down energy use each time. Today we continue to provide dependable performance and smart solutions in road lighting encompassing the latest changes in technology.

There is a growing demand for better control of energy, reduced light pollution and wider compatibility with diverse digital systems. Globally, there is a trend to use LED and white light that is enabling us to both lower the energy required for lighting and lower the required lighting level. Research proves that we simply see more efficiently in whiter light than under conventional light sources.

Changes in technology make it possible to control obtrusive light and to reduce energy, all moving towards achieving tough environmental standards.

The other significant trend is within outdoor lighting controls. Switching off is no longer the only choice, dimming positively impacts energy usage and keeps our roads and streets safe for all. LED means controls are becoming available to all, either by local presence detection, part night dimming, linked groups of fittings responding to a wider influence or through digitally connected cities. The ability to interact with lighting, use data to fine tune the energy and performance profiles is enabling municipalities to react to the needs of the population, to lengthen the life of an installation and to plan for the future.

Lighting more than ever can be efficient, respect our need for dark and yet stimulate a truly smart city.

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16

Lighting festivals

ANATOMY OF A

LIGHTING FESTIVAL Helen Marriage of Artichoke, creator of Lumiere: Durham, on how to make light of winter darkness and put a city on the map

Peter Lewis’s Splash (2011)

L

umiere: Durham is now the UK’s largest light festival. The event has grown from small beginnings in 2009 to a position where the lovely north-eastern medieval city (population 40,000) now welcomes 175,000 people to its streets, parks, squares and buildings over a four-day period.

So great is the impact of this influx of people that the city, in embracing the event, has had to rethink its values in relation to the public realm and vary its operations accordingly.

So how does it work? In the first instance, Artichoke was asked by a local producer to think about whether we might create a light-based event for Durham. There had been a moment the previous winter when four installations had been presented in the

Lighting Journal April 2015

city to enormous popular acclaim. We had been thinking for a while about creating a European-style, large-scale light festival, originally destined for Cambridge, but the attraction of the landscape, topography and heritage of Durham proved too seductive – just stepping off the train, having crossed the mighty viaduct with its startling views of the cathedral and castle, was enough to convince us that this was the place.

Realistically, it shouldn’t have been. Durham is a tiny city, just 12 minutes by train from Newcastleupon-Tyne. If it’s visited at all, it’s because of its magnificent history and heritage, centred on the 1000-year old castle and cathedral, consistently voted Britain’s favourite building. The

place has a thriving university and is full of students during term-time.

The city centre, built on a peninsula, surrounded by the River Wear, seems designed by its medieval masters to keep people out.

Step away from the city and the wider county is a place of contrasts: the rural west with its sparse populations clustered around surprising towns such as Bishop Auckland and Barnard Castle. To the east, along the coast, are the results of deindustrialisation – the poorer areas of Easington, Peterlee, Chester-leStreet, Sedgefield and the Wear Valley – where industries such as mining, steel and glass-making have long ago abandoned their working communities.

County Durham is where 45.4 per cent

Photography: Matthew Andrews

Lighting festivals

Air Vag’s Starry Night (2009)

Crown of Light by Ross Ashton, Robert Ziegler, John Del’ Nero (2013)

Elephantastic by Top’là Design (2013)

17

of the population live in the top 30 per cent areas of national deprivation, in socially deprived communities where more than half the children live in poverty.

What hope here then, for the commercial sponsorship or local authority patronage that’s an essential ingredient for creating such an event, free to the public, on an unimaginably large scale? Durham, with a council struggling to provide for its people in an era of austerity and all industry fled.

And yet, the council, traders and residents welcomed the festival right from the start. In 2009 just as we were exploring what was possible, an astonishing 75,000 spectators arrived over the four days of the event. We’d turned the city into a giant, open-air, free-to-see art gallery with living artists providing their amazing interpretations of light. The council instantly announced that it was inviting us back – and quadrupling its funding.

So what had we done? On the face of it, around 20 light installations ranging from the tiny Utopia spelt out in neon on the roof of a derelict dance hall, to the enormous Crown of Light – a projection by Ross Ashton that saw the glorious illumination of the Lindisfarne Gospels spread out across the 120m of the north side of Durham Cathedral.

The Botanical Gardens hosted 22 individual works, each playing with the idea of the energy given off from the rare plants and trees, while the streets and squares of the city centre gave themselves up to become a playground of light and imagination. Our analysis showed that those who came that first year were an interesting mixture of local people, night-time visitors from around the region, and those from further afield – national and international – many of whom were discovering the beauty of the city for the first time.

And so the UK’s largest light festival was born, with unstinting support from Durham County Council and now further investment from Arts Council England.

The event has grown into a major event for the north-east of England and every two years has become an important occasion in the national cultural calendar. With Lumiere, Durham is firmly on the cultural map and its reputation is spreading internationally with membership of Lighting Urban Community International (LUCI) and visiting delegations from cities as far afield as Jerusalem, Lyons and all the European cultural attaches in London.

How does it work? It’s a long and painstaking process with each

Lighting Journal April 2015

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Lighting festivals installation, each event carefully programmed to speak in some way to its location, either reflecting on history, social issues or geography – there has to be a reason to commission the work and place it in its exact site.

We follow the work of many artists, we go to as many exhibitions, galleries and other light festivals as we can; we also try to keep abreast of new technological developments. We’re always curious about new ideas and new ways of doing things.

We run a commissioning scheme under the title Brilliant, where we invite local people with a great idea to submit it to our competition. Out of the many entries, we choose four or five, and they sit alongside the work of our international artists in a programme whose take on ‘light’ is pretty broad – it encompasses fire and flame, neon, projections, interactive digital technologies, freestanding lit objects – as long as the central idea is a good one, we’ll programme it. We commission new work; we programme existing pieces that we can make fit our specific locations; we create opportunities for artists to work with local people to make something particular for Durham.

The process is instinctual and doesn’t follow any particular formula – it’s about trying to create an emotional reaction in the viewer: delight, surprise, challenge, joy and wonder. We want to move people, to engage them in the extraordinary world of the artist’s imagination, and to help them see a familiar landscape transformed.

This work is not without its technical complexity – water has to be pumped up from the river; street light columns need removing; the city centre lights are turned off to save energy and better highlight the installations, buildings are tested for weight loading as we rig enormous structures from their roofs. We’re involved in numerous negotiations about the siting of all manner of lighting and projection equipment in hidden spaces to create

This work is not without its technical complexity – water has to be pumped up from the river; street light columns need removing; city centre lights are turned off the most magical effects on the surrounding architecture.

In 2009 it cost just £650,000 to put on. Now in 2015 we’re looking at a budget in excess of £1.5m. Audiences, too, have grown, from 75,000 in the first year to more than 175,000 counted through Durham Cathedral in 2013.

And there lies our challenge. Durham, as I’ve pointed out, is a tiny place, built centuries ago for defence and keeping people out. For Lumiere we welcome tens of thousands of visitors in, but the streets are full and, because the city is surrounded by water, there is a real capacity issue.

It takes a huge amount of careful planning. Months before the event we sit with traffic planners, transport experts, council officials, to work out which roads to close, and how, if we’ve closed all the roads to all but pedestrians, the audience is actually going to get there. We invent new park and ride sites, run additional bus services from the rural areas, encourage people to walk, cycle (not many in the hilly, frozen, northern winter) and use public transport where they can. We move the bus station (not literally, but reroute

Les Voyageurs by Cédric Le Borgne (2011)

Lighting Journal April 2015

ut rmation abo fo in re o m r package Contact us fo SAVE finance O T L L TA S our IN

ACCREDITED

SUPPLIER

20

Lighting festivals

the drop-off and pick-up points), shift the taxi ranks – anything that will make the city as user-friendly as possible and provide the best visitor experience that we can.

It’s immensely complicated and even involves closing the city centre completely in the early afternoons of the festival and only allowing ticket holders in between the peak hours of 4pm to 8pm (tickets are free and only used to control numbers).

Because the programme is free to the public, we now have an enormous task on our hands raising the funds for each biennial event. There’s no reason to assume that the audience will get smaller, so the amount of money we have to devote to looking after them seems to grow each year.

But we know that we have to give them something worth coming to – so there’s no compromising the quality or excitement around the artistic programme.

We’re just putting the 2015 programme together and it’s more ambitious and thrilling than anything that’s gone before. We recognise that our Lumiere audience are now lighting experts – and we’re doing our best to live up to their expectations.

In 2013 the third Lumiere festival attracted 175,000 visitors over four days, resulting in more than 20,000 overnight stays in hotels, guest houses and other accommodation.

Economic benefits included international publicity worth £5.8m

Helen Marriage is director of Artichoke and artistic director of Lumiere The fourth edition of Lumiere light festival (www.lumierefestivalcom) will take place in Durham from 12-15 November 2015

ABOUT ARTICHOKE Producer of spectacular live events, it is one of the country’s leading creative companies and is a registered charity, funded by Arts Council England. ‘At Artichoke we use art to undermine the mundane and disrupt the everyday, and create a new kind of world that we’d all like to live in,’ says director Helen Marriage.

Projects include Royal de Luxe’s The Sultan’s Elephant, which brought an estimated one million people on to the streets of London in 2006; La Machine’s 15m-high mechanical spider for Liverpool’s Capital of Culture celebrations in 2008; Antony Gormley’s One and Other 100-day-long invasion of the Fourth Plinth in Trafalgar Square in London in 2009; and Deborah Warner’s commission for the London 2012 Festival, Peace Camp, a nationwide celebration of landscape and poetry, which took place across eight separate sites around the UK. As well as Lumiere in Durham, Artichoke created Lumiere Derry-Londonderry, Northern Ireland, as part of the celebrations for City of Culture 2013. www.artichoke.uk.com Key Frames by Groupe LAPS-Thomas Veyssiere (2013)

Lighting Journal April 2015

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e u s Is 5 1 0 2 y a M r fo s e r tu Fea Specs and the city Arup rethinks the urban nightscape

Net results

Jonathon Porritt et al on e-commerce and its impact on lighting

Moving the goalposts

Measuring up to new ways of lighting sport for television

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Urban lighting

ALTERED ESTATES lighting. As we started exploring the urban nightscape of London, we started to wonder why some places benefit urban environments, last year from a beautiful interplay of darkness and intricate lighting coming from the 25 lighting designers from 11 windows, while others are characterised by intrusive and brutal lighting that different countries spent a week signifies them as problematic or even dangerous areas. Why do we still on London’s Whitecross Estate implement lighting that is reactive in bringing together social research order to prevent problems, such as anti-social behaviour, in places such and design. Joanne Entwistle, as social housing while other town nightscapes, notably touristic hubs or wealthier neighbourhoods, are carefully Don Slater and Mona Sloane carved out of the dark?

Most important, it appears that explain the initiative and its context neither of these polarised lighting designs seems to respond to and support any particular social use of a space. The pedestrian on the ‘dark ighting provides a fundamental street’ may not be disturbed by light infrastructure for social life. As such pollution that can be found, for example, it reflects many urgent modern on a social housing estate. But s/he urban concerns – from safety, crime and may also not be able to see where s/ environmental issues, to technology’s he is going. The residents of the brightly impact on social life – alongside lit estate might find the bright lights aesthetic and heritage considerations. reassuring, but will equally fear the dark Lighting profoundly affects the way corners created by the stark contrast of we socialise, perceive and construct very bright lights on the one hand and our environments and navigate through relatively unlit areas on the other. them, determining what kinds of In both cases, or generally in most sociability – if any – can be enacted after of contemporary public lighting, the dusk. What’s more, it provides not only lighting does not seem to respond to infrastructure, but also critical material – the social architecture of a place. The in other words, it is stuff we need, make lights are objects in their own right, they and shape both for and through living are jostled centre stage (either because an urban life. However, it has remained they are absent or too dominant) instead relatively invisible in social research. of dissolving into the background and Our research programme, supporting the different social activities Configuring Light/Staging the Social, and pathways that define that place. a joint initiative of LSE and King’s The reactive nature of lighting for social College, based at LSE, is building on housing especially causes a huge this. It operates as an umbrella for amount of light pollution and unnecessary interdisciplinary projects – bringing energy consumption. In other words, this together social sciences, design, kind of lighting is not site-specific and architecture and urban planning – therefore far from sustainable. that explore the ways in which light This begs the question of how we is configured into built environments, create lightscapes that take as a starting and with what consequences. Through point the people who will move through this programme the team has been them and how they ‘make’ a space involved in numerous projects that through their daily practices? How can have stimulated discussions between we develop not only technologies, but social research and lighting practice, the also techniques for understanding these most recent of which took place on the social spaces in which lighting design so Peabody Whitecross Estate near Old fundamentally intervenes?

Street in north London.

These were the questions that The idea for the Whitecross project informed the Urban Lightscapes/Social derived from some of the research we Nightscapes project. Funded by LSE had done into contemporary urban HEIF5, and with technical support from

With the aim of creating better

L

Lighting Journal April 2015

iGuzzini, we partnered with the Social Light Movement and Peabody to bring together 25 lighting designers from 11 different countries to spend a week in October 2014 on the Whitecross Estate to learn about the value of doing social research in the design process.

This social housing estate – with a mix of old Victorian buildings and more recent 1960s blocks – was particularly interesting as a space to start thinking about how social research and lighting design can work together. For one thing, the Whitecross Estate is not an iconic city centre building and therefore is not the sort of place that generally gets much attention in terms of lighting design. The lighting is, by and large, intended to be functional and simply ‘work’. Our team was asked to do some social research on the way the space is used by residents and others, and develop design ideas that emerged from their findings.

Our aim was to build skills and ways of working to encourage the sustainable integration of social research into lighting design, to look for ways in which lighting designers can learn more systematically and richly about the social character of the places they design for, and to respond more creatively in their design work to social research and information.

This was achieved through intensive workshops that focused on actual research and design for designated areas of the housing estate: participants moved between initial design ideas and active social research (interviews and participant observation, for example) throughout the week, which culminated in presentations of research-based design strategies. We also produced a handbook for social research in design, which develops approaches and exercises for integrating research and design.

Throughout this process we focused on three core concerns: first, how to make designers more aware of the social assumptions they are acting on (for example, stereotypes of people and places, beliefs about lighting, assumptions about social problems and practices). Second, how to help designers learn more efficiently and practically about social spaces with targeted and appropriate research strategies and designs for their case study site on the estate.

Third, how designers can integrate

Urban lighting

Whitecross: a mix of old Victorian buildings and 1960s blocks

23

A guerilla lighting event (this image and below) generated a lot of interest and positive feedback from residents

Consultation with residents was central to the design process

Our aim was to look for ways in which lighting designers can learn more systematically and richly about the social character of the places they design for, and to respond more creatively to social information

Lighting Journal April 2015

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Urban lighting

social knowledge and research more effectively into all stages of their everyday design practices.

The Urban Lightscapes/Social Nightscapes project has kicked off a whole range of new discussions on how design, planning and engineering practitioners can collaborate with social researchers to create urban design interventions – in this case lighting designs – that take as a point of departure the social fabric of a place as opposed to its built manifestation or a particular design idea.

In order to build on the success of the workshop and expand the social research in design approach, the Configuring Light/Staging the Social programme is currently in the process of formalising a very close partnership with Dr Elettra Bordonaro of the Social

Light Movement. The aim of integrating Dr Bordonaro into the Configuring Light team is to develop an international series of workshops that can be hosted on different sites. This series will stay committed to the focus on places that normally fall under the radar of lighting design, such as social housing.

The Configuring Light team will also expand the Handbook for Social Research in Design that was developed for the Urban Lightscapes/Social Nightscapes project into a book-long publication outlining social research methods for practical lighting design.

Working towards the overall aim of fostering interdisciplinary collaborations between practitioners and academics, Configuring Light/Staging the Social and the Social Light Movement are currently discussing with Peabody

how to implement some of the schemes that have been developed by the design teams on the Whitecross Estate, and more important, how to integrate social research aspects into forthcoming lighting design projects on other Peabody estates.

Dr Don Slater, associate professor of sociology, and Mona Sloane, researcher, of the London School of Economics and Political Science are the coordinators of the Configuring Light/Staging the Social research programme in collaboration with Dr Joanne Entwistle, senior lecturer in culture and creative industries at King’s College London www.configuringlight.org www.socialnightscapes.org

COMMUNITY CENTRED Graham Festenstein, who took part in the Urban Lightscapes/ Social Nightscapes project, gives a lighting designer’s perspective I have written regularly in this magazine over the past few years on the subject of lighting for social housing. Back in the days when the PLDA was very active in the UK there was a campaign run jointly with the ILP to promote lighting and lighting design in the context of social housing developments and design for sustainable communities.

Unfortunately, although some progress was made, the campaign fizzled out at the time of the last general election, even though Sharon Stammers and Martin Lupton of Light Collective had got as far as addressing the government’s All Party Parliamentary Lighting Group and getting a positive response. The one thing in particular we failed to achieve was to gain the ear of the housing associations. Due to the scale and structure of many of these organisations it is very difficult to speak to the people who make policy, especially as they do not see lighting as their responsibility, simply an infrastructure issue that does not warrant their attention.

Many other European countries such as Sweden, France and Belgium

Lighting Journal April 2015

have achieved success in this area, with designers there working closely with housing associations and municipalities. Sadly, following the models used by lighting designers such as Isabelle Corten from Belgium, and Olsson and Linder in Sweden has not so far worked well in the UK. As a result I was very interested to hear of the Whitecross workshop, and was delighted to have the opportunity to take part. I was especially pleased to see the involvement of Peabody, one of London’s oldest and largest housing associations.

At the workshops it was interesting to see how diverse the range of participants was – many lighting designers, but also architects, landscape architects and representatives from manufacturers. It was also very cosmopolitan with many countries represented and with a good range of ages and experience.

We were introduced to the programme with a number of presentations from the LSE team and the Social Light Movement. The LSE presentations were for me of most interest, and I was struck in particular

Urban lighting

I wanted to learn more about how to engage with the people who will actually use the spaces we design for and understand better what they want and need by the similarity of the process and methodology in design and social research. In fact our approaches are in many ways identical – research, understanding context, consultation, analysis, demonstrations followed by proposals, sometimes only indistinguishable by the differing use of language and jargon.

The biggest difference, probably unsurprisingly, was the degree and type of engagement with the public and residents, and this is something I was especially keen to understand. Being familiar with the work of Jöran Linder, Eric Olsson and Isabelle Corten, I know that community engagement is the bedrock of success in this type of work. However, not having had the opportunity to develop these skills I wanted to learn more about how to engage with the people who will actually use the spaces we design for and understand better what they want and need.

As designers we are familiar with the normal consultation process, generally mostly with clients and other professionals, with actual engagement with the public often consisting of display boards and sometimes a public meeting. This approach generally attracts only a small percentage of people and these tend rarely to be representative of the whole community.

The methods employed by the LSE team are much more direct, approaching people and engaging in discussions in and around the estate and its public spaces. In practice we found avoiding any direct discussion about lighting at the beginning of a conversation yielded the best results and enabled us to understand more

fully how people used the space and what issues they felt were important.

After all, lighting is just one facet of urban design and should not be considered on its own.

Many people had widely differing opinions, and local politics comes into play, requiring a certain amount of judgement and, from a design perspective, the application of professional skill to resolve. We also undertook practical trials and demonstrations designed to encourage residents’ involvement. What did bring many residents out on to the streets was an exciting guerilla lighting event organised by Light Collective, which generated a lot of interest and very positive feedback from residents.

So what did we learn? First and foremost, how important proper community engagement really is and the degree to which it can contribute to the design process. That in many ways we are already doing the right thing, or at least trying to – we need to persuade our clients to go that little bit further and find the budget to allow us to engage better. That as a profession we are still a long way from from getting our message across to decision-makers without help.

This type of academic research project brings not only opportunities to learn more about how to develop our skills as lighting designers, but equally important is the legitimacy organisations such as the LSE and King’s College bring to our argument, making collaboration between our profession and other disciplines ever more important.

Hopefully the Peabody will build on the results of this research, raising the status of lighting design within its upgrade programmes – starting at the Whitecross and then on to other estates across London, leading the way for others to follow.

25

LESSONS LEARNED l How important proper community

engagement really is and how much it can contribute to the design process l In many ways we are already doing the right thing, or at least trying to, but we need to persuade our clients to go that little bit further and find the budget to allow us to engage better l As a profession we are still a long way from getting our message across to decision-makers without help

Lighting Journal April 2015

26

Visual system

EYE OF THE BEHOLDER Winner of the ILP’s award for Best-Written Paper in the 2014 Young Lighter of the Year competition, Veronika Labancova gives a distilled version of her presentation, Possible Impact of the Ageing Influence on Light Quality Perception

T

he influence of good lighting on people’s health and wellbeing, moods, energy level or even emotions is already very well-known1, as well as the fact that the wrong illumination may produce visual discomfort, reduce visibility and even create negative health problems2. It can also affect both recognition and perception of objects, as well as having an impact on perception of colour, shape and texture3.

While there has been a fair amount of research and published material on the relationship of lighting with colour and vision, less has been written about the relationship between colour vision and LEDs, in particular, the possible effects of factors such as age, eye colour, visual disturbances or medical treatments.

One of the possible reasons is that LED technology is still relatively new; there are still not commonly agreed, standardised measuring methods and

Lighting Journal April 2015

tools to compare aspects of the colour rendering index and observation of light quality in this context, in particular colour appearances. Which is why alternative measurement methods such as Colour Quality Scale (CQS) or Gamut area (GA) have been devised4.

With their increasingly widespread use, and their backing by government bodies keen to meet carbon targets, it is important that LEDs are specified to create appropriate lighting schemes for different environments, and to support the physiological and psychological needs of people as end users.

One of the main goals of my research, conducted as an independent lighting test, was an evaluation of the following hypotheses: • The age of an observer can have an impact on visual perception of the colour of an object • An average observer is not able to distinguish the difference between

higher luminance and lower colour rendering of a light source or vice versa. However, when getting older, an average observer naturally prefers higher luminance to better colour rendering • The eye disturbances due to medical conditions impact human vision and therefore perception of colour • Human vision and perception of colours may be influenced by the colour of the iris • Artificial lighting and working on computers play a significant role in vision ageing and starting the macular degeneration process THE INFLUENCE OF THE IRIS ON VISION Generally eye colour is considered as an aesthetic element. Nevertheless, it has been suggested by some scientific researchers that the colour of the iris might also influence our vision5.

The iris comprises two tissue layers: the innermost layer is tightly fused by

Visual system

27

Lighting test set-up scheme (right).

PSD comparisons of tested LED samples (far right) Final appearance of the three lighting scenes under different lighting conditions

In visual perception a colour is almost never seen as it really is – as it physically is. This fact makes colour the most relative medium in art – Josef Albers

pigmented cells and is known as the iris pigment epithelium (IPE); the outermost layer is mainly composed of loosely arranged connective tissue, fibroblast and melanocytes, referred to as the anterior iridial stroma6.

Iris colour does not come from pigment, as is commonly believed, since it is distributed similarly in different iris types. Rather the density and cellular stroma are the main influences that differentiate colour.

Although blue eyes have a similar amount of melanocyte cells as green or brown eyes, they contain a minimal number of pigment cells and only a few melanosomes. Green eyes contain a moderate density of pigment and a few melanosomes. Brown eyes by comparison have high levels of melanin and melanosome particles7.

Pigment in the eye acts in the same way as skin pigment – the darker the skin or eye tone, the more light is blocked. Some researchers have proved

that dark-eyed individuals can better adapt to high-glare situations, strong daylight at noon, for instance, but find it more problematic to see in the dark, even after certain eye adaptation8.

Blue-eyed individuals are more sensitive to colour but might have a higher risk of eye diseases affected by light, such as macular degeneration, due to more light rays passing through the lens and hitting the retina9. However, the more sensitive eyes are towards colours the greater and easier their adaptation to a dark environment.

It is important to note that only Caucasians have the iris colour variation. The rest of the human race has brown eyes10.

The experiment was conducted on 18 April 2013, over a 10-hour period, in the Lighting Design Laboratory, at Hochschule Wismar, Germany. The 20-30 minute lighting test consisted of a practical experiment and then the completion of a questionnaire.

Attendees, including members of the public as well as students, professors, lecturers, other employees of the university and some lighting professionals, had to evaluate and compare the effect of three different lighting scene settings on their visual perception of different objects. They also had to assess how comfortable they felt looking at the scene setting.

Evaluating the properties of the sources that were tested involved LIGHTING EXPERIMENT displaying colourful cubes, in exactly It was important to define comprehensive the same position for every scene, in a lighting test conditions in order to repeat completely blacked-out space. Colour the test in the future both to obtain choice was based on the Munsell additional information or evaluate a system. The cubes were divided into wider group of respondents. two groups and took into consideration

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Visual system

size, material and texture. The larger three cubes (5cm) were made of a semi-glossy plastic material in saturated colours (red, yellow and blue). The size difference demonstrated their importance in this experiment, as saturated colours are more complicated to render. The other six cubes (3cm) were covered in a matt material in variations of dull colours: light green, blue, violet, brown and beige.

The higher amount of bluishgreenish hues in the experiment should have supported a hypothesis that discrimination between blue and green diminishes with eye ageing.

The three scenes varied in terms of luminance (L) and CRI: Scene 1: L – 2000lm, CRI 80 Scene 2: L – 1000lm, CRI 95 Scene 3: L – 1000lm, CRI 80 These variations were designed to provide answers to the following questions: whether human beings prefer higher brightness to better colour rendering as a main parameter of light quality, and whether people can distinguish between CRI and luminance, or if they cannot perceive any modification at all.

RESULTS The evaluation questionnaire was divided into two parts. The first part collected general data on participants: sex, age, colour of iris and visual disturbances, together with information on medical treatments and working time in front of a screen – essential information to appraise and associate data according to the key criteria.

The second part of the questionnaire detailed data relating to light, colour and perception, for example: which scene do you find the best in terms of colour quality? This question considered only a colour’s appearance according to a subjective observer’s visual preferences, which indicated the majority of people can hardly differentiate between luminance and CRI as the parameters are mostly considered simultaneously.

In Group 2 (30-39 year olds), 90 per cent of respondents voted for Scene 2, which had the highest CRI. It seems that at this age our sight is at its most sensitive to small nuances of colour, varying with different CRIs. Group 1 comprised the youngest participants (18-30 age group). They provided astonishing results in terms of the hypothesis of the experiment.

Results showed that this group could

Lighting Journal April 2015

easily recognise even small nuances of colour quality dissimilarities, which led to the conclusion that a CRI as high as 95 might even exaggerate saturated colours in the eyes of this age group.

Group 3 (40-49) and Group 4 (50–59) obtained quite equal results, however the brightest scene (Scene 1, CRI 80, 2000lm) was slightly preferred by participants. Therefore the first thesis, that the age of an observer can have an impact on visual perception of a colour of an object, can be assumed to be correct.

Where question 2.2 was concerned – which scene has the most unrealistic character of the colours? – the answers showed that differences between age groups were more evident than in the first question. The youngest, Group 1, gained the most uncertain results as Scene 1 and Scene 2 were voted equally. Following these indications

even perceive very slight nuances of yellow and red under different lighting conditions, which were not observed by older groups at all.

Group 3 and Group 4 found it difficult to perceive pastel colours such as light blue, violet, light green and beige, especially with the bluish greenish hues as the colours disappeared at a certain distance.

This supported the hypothesis that low saturated colours are more difficult to perceive at a higher age.

The responses from question 2.4 – which scene do you find visually the most comfortable according to the brightness and the colour quality?

– did not significantly vary from those to question no 2.1 (observation of colour quality alone) where most groups were concerned. The majority of Group 2 selected Scene 2 (CRI 95, 1000lm) for a second time as the most comfortable. Therefore the hypothesis on visual acuity culminating between the ages of 30-39 would again seem to be relevant.

The youngest group varied between the darkest option, Scene 3 (CRI 80, 1000lm), and Scene 2 (CRI 95, 1000lm).

This leads to the theory that visual acuity is still not fully mature in this age range and therefore more sensitive compared to participants from Group 2 .

The majority of Group 3 selected the brightest, Scene 1 (CRI 80, 2000lm).

This confirmed the second hypothesis that an average observer is not able to distinguish the difference between higher luminance and lower colour rendering of a light source or vice it seems the lower CRI and higher versa. However, when getting older, luminance, and vice versa, as well as an average observer naturally prefers exaggerated colours, creates a very higher luminance to better colour similar effect which causes visual rendering. Participants could recognise discomfort to younger respondents. better CRI when asked to identify it Group 2 (30-39) predominantly separately (question 2.1). However, voted for either Scene 1 (the brightest) lighter greyish hues were already or Scene 3 (the darkest). This led to problematic to identify compared to the same conclusion as for the first saturated colours (question 2.3). question, that visual acuity is at its most The majority of Group 4 selected accurate in this age band. Group 3 Scene 1 as well.

(40-49) and Group 4 (50-59) voted very The author believes this relates to similarly, with most choosing the least presbyopia and the whitening of vitreous bright, Scene 3, which again supported humour inside of the eyeball, which the first thesis. blocks certain amounts of light reaching Question three asked whether the retina and a poorer performance any of the perceived colours was less from photoreceptors. noticeable than others. This question Question 2.5 asked which scene was important to better understand a had the poorest visual settings, taking shift of colour perception when ageing, into account brightness and the colour as well as to specify critical colours quality. The youngest, Group 1, voted for the different age groups. The best strongly for Scene 1, the brightest, results were collected in the two younger as the most unpleasant, due to the age groups who were able to detect overilluminated scene settings causing subtle differences. The groups could plasticity deterioration of the displayed

The results highlight the importance of specifying appropriate values of colour rendering and levels of luminance based on the user’s age

Visual system

29

AGE

CHARACTERISTIC

Group 1

(18-29)

No particular visual perception problems in terms of colour distinguishing or higher brightness needs. Some eye disturbances caused during eye development can be present which at this stage does not significantly influence vision at all, if properly treated

Group 2

(30-39)

No particular visual perception problems are listed either, but a need for higher brightness levels or colour perception problems might already occur under certain circumstances

Group 3

(40-49)

Some signs of early presbyopia (eye ageing) might occur in approximately half the population, which may cause some difficulties in perceiving low-saturated colours, together with a need for higher brightness levels

Group 4

(50-59)

A larger part of the population is affected by presbyopia, which decreases vision quality. Perception of colour and brightness are affected the most.

GROUPS

Group 5

(60+) *Please note, Almost the whole population suffers from presbyopia. There is also a higher risk of developing sufficient amount other eye disturbances such as cataracts, macular degeneration or glaucoma which also of participants impact on human vision. Untreated disorders might lead to blindness. not tested

objects. This supports the theory that at this age our vision is still very sensitive and therefore our eyes are irritated when higher brightness occurs.

Unexpectedly, Group 2 did not show a clear outcome, but varied between Scene 1 and Scene 3. It seems that visual performance reaches boundaries between youth and presbyopia.

Group 3 voted predominantly for Scene 3, the least bright with a low CRI, as the most disagreeable lighting scene and, similarly, Group 4 found Scene 3 the least comfortable because of its low luminance. This again supported the second thesis.

Unfortunately, this research cannot offer further data on participants aged 60 and above.

SUMMARY The data assessment, records from 55 participants, gave interesting and unexpected results. It seems that our visual acuity peaks between 30-40 years old. Participants of this age had the most balanced perception of colour and luminance. Before conducting the research, the author believed that the youngest group of participants, between 18-29 years old, could best distinguish the quality of colours under different light conditions. However, analysed data indicated that the vision of this age group is still physically immature and sensitive, requiring more time to become fully stabilised.

It can also be proved that when getting older an average observer naturally prefers higher luminance to better colour rendering. At this point our perception is changing and decisions about lighting quality are generally based on luminance, not CRI. Therefore it should be a more important parameter when designing lighting for the elderly.

There is also an indication that eye surgery might influence the performance of the visual system. Those respondents not wearing glasses due to having had eye surgery produced worse results compared to the average participants in each group. However, this theory needs to be proved by additional research.

Also, no change in visual capability was evident when participants were wearing prescription glasses.

Unfortunately, the research could not prove any connection between the colour of the iris and its impact on perception of colours as the number of tested participants was not sufficient to deduce any results.

Data from participants of 40 years old and above shows that they spend less time in front of a computer compared to the younger generation.

Among young people there was no significant difference in perception of colour appearance between those who work less with computers and those who work more. However, younger respondents might experience vision difficulties associated with ageing earlier than their parents due to the great deal of time spent in front of computers and TV screens, and consequent enormous overexposure to the blue end of the light spectrum. This may also contribute to retinal damage and possibly lead to macular degeneration13.

The above results highlight the importance of specifying appropriate values of colour rendering and levels of luminance based on the user’s age, and show that they should be significant parameters in lighting design. It should help to design appropriate lighting for different environments, and support physiological and psychological needs of people, creating welcoming, comfortable and human friendly

environments with an additional opportunity for energy savings.

ACKNOWLEDGEMENTS The author would like to express her gratitude to Roger Sexton, Gerhard Rieser and Patrick van der Meulen from Xicato for providing luminaire samples, as well as for their technical knowledge and expertise. Also, completing this study would have been all the more difficult were it not for the support and friendship provided by Dr Karolina M ZielinskaDabkowska, whose encouragement and supervision were a great asset in the development of this research.

References 1 Brandi, U, Licht. Lighting design Principles Implementation Case Study.

Birkhäuser, Berlin, 2006.

2 Brandi, U, Licht. Ibid 3 Hunt, RWG Measuring colours. Ellis Horwood, London, 1991.

4 Color Rendering of Light Sources.

Online, National Institutes of Standards and Technology – NIST, www.iald.org/userfiles/file/PDFs/ DOESSLMaterials/09_NIST%20 Color%20Quality%20Index.pdf.

7 Frudakis, TN, Sturm, RA. Eye colour portals into pigmentation genes and ancestry. TRENDS in Genetics, 2004, Vol 20, No. 8, pp 328.

8 Frudakis, TN, Sturm, RA. Ibid 9 Frudakis, TN, Sturm, RA. Ibid 10 Frudakis, TN, Sturm, RA. Ibid 11 Frudakis, TN, Sturm, RA. Ibid 12 Frudakis, TN, Sturm, RA. Ibid 13 Loughman, J, Davison PA, Nolan JM, Akkali MC, Beatty, S Macular pigment and its contribution to visual performance and experience. Journal of Opthometry, 2010, Vol 3, No. 2, pp 74.

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Awards

SUBTLE DISTINCTION Jill Entwistle singles out four winning and commended schemes from this year’s Lighting Design Awards

A

number of schemes at this year’s Lighting Design Awards were notable for the subtle, nuanced ways in which they used LEDs. Three of the four shown here exhibit restraint in featuring just a single colour. Two use only white LEDs, one relying on dynamic light for its effect and the other a switch in colour temperature to reflect changing seasons.

The fourth, a building facade, fully succumbs to full colour, but allows the public to decide how that is interpreted with an interactive control system.

Project: Emergence, Caviar House and Prunier, Heathrow T2 Lighting: Cinimod Studio Winner (Special Projects) One of those schemes that has to be seen in action to be fully appreciated, Emergence is designed to evoke the sensation and sight of a school of fish swimming and shimmering in reflected sunlight. The sculpture – a 13mhigh spiralling structure made of carbon fibre arcs housing 350,000 LEDs – was designed for seafood specialist Caviar House and Prunier.

With its usual attention to detail, Cinimod modelled the lighting patterns on the actual movements of a school of fish within the ocean, controlling the programme in real-time from a live physics simulation. ‘This is physically manifested as a kinetic moment frozen in space and time, and reanimated through cutting-edge interactive digital lighting,’ explains Cinimod’s Dominic Harris.

Marrying art and engineering, and aptly for its context, the structure borrows heavily from the carbon fibre composites found in the latest aeroplanes. The airport environment was also a key consideration where the software and electronic control system was concerned.

‘Airports are notoriously harsh environments within which

Lighting Journal April 2015

to operate sensitive electronic equipment due to the sheer volume of data flying about,’ says Harris. ‘From the outset it was clear that a very low bandwidth ultra-stable system would need to be devised in order to control the LEDs.’ It wasn’t feasible to control the the brightness of each individual LED so an abstraction layer of manipulated video frames was used. These were stored on the LED arc controllers, and then selected and manipulated from the control server.

Each controller holds an AVI (audio video interleave) file that contains thousands of frames of pixel sequences, with up to five simultaneous video layers played at a given time with arbitrary frame-rates and transformations. This translates into a very fluid 60fps (frames per second) that can be maintained in real-time to each pixel on a minuscule overall bandwidth.

Behind the bespoke electronics hardware is a complex real-time simulation software running on a PC in vvvv – a general purpose toolkit for real-time video synthesis and programming large media environments. The simulation of virtual schools of fish is calculated directly on the Nvidia GPU (graphics processing unit), taking cues from a variety of environmental conditions.

‘To turn the sculpture into a true volumetric display it was necessary to perform distance calculations for each

Awards

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Project: Debenhams facade, Oxford Street, London Lighting design: Light + Design Associates Commended (Exterior) If a scheme is going to feature colour then more often then not it will be polychromatic. The scheme for the exterior of Debenhams flagship store shows admirable restraint in sticking to just the one: orange. The primary aim was to transform a tired old concrete facade and increase the store’s presence in a highly competitive retail environment.

The effectiveness of the scheme relies on a simple and dramatic solution to the original facade in the form of a kinetic veil made of thousands of aluminium leaves, designed by US artist Ned Kahn and UK-based architect Archial NORR. The leaves move in the wind, creating constantly changing patterns and reflections, both from natural light in the daytime and the artificial lighting scheme at night.

‘Wave and water‐like effects appear on the facade during the day,’ says Lee Prince, managing director of Light + Design Associates. ‘At night the amber lighting turns the same patterns into an effect that resembles fire, giving the building a totally new look for the evening.’

Light + Design Associates designed both the lighting to the new facade and the signage band wrapping around all four facades using just two types of completely integrated and concealed LED luminaires. Two runs of Philips eColour Graze Power Core Amber fittings are concealed above the new canopy, one illuminating the lower portion of the facade and the other the upper section.

‘This way the entire facade could be illuminated from a single, hidden but accessible position,’ says Prince.The perforated panels screening the ends of the facades are backlit using the same product mounted horizontally.

Lighting within the signage band comes from a continuous run of Philips EW Cove MX Powercore luminaires, also used to backlight the perforated ceilings at the entrances into the store.

LED, a process that was too slow to run conventionally on a CPU,’ explains Harris. ‘To overcome this hurdle, the calculations were offloaded to the GPU, capable of performing many calculations simultaneously. A custom C-Sharp plugin then analysed these results and estimated the best way to reproduce these patterns using the video frame parameters available.

‘It was important to create an incredibly fluid and realistically flowing array of light patterns and shimmers across the sculpture,’ says Harris.

Client: Debenhams Architect: Archial NORR Artist: Ned Kahn

Concept, design, production and installation: Cinimod Studio Client: Caviar House and Prunier Carbon fibre and installation: Polar Manufacturing Installation: Vertex Rope Access Structural engineer: Tall Engineers Electronics engineer: White Wing Logic Software developer: Will Young/Cinimod Studio Onsite contractor: Powells Group Additional manufacturers: Momentum Circuits, Electroparts, Printed Systems, Elite Metal Craft, TuControls

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Awards

One of the advantages of LEDs is that one fitting can be tuned and changed to offer a variety of white colour temperatures rather than using different sources to achieve the same effect. Building facades are an obvious application, allowing cool or warm whites to complement different coloured materials.

What is unusual about the Knightsbridge scheme, however, is that the technique is also used to reflect the changing seasons.

The 3.5 acre Knightsbridge Estate, a typical London mix of shops, offices and residences, is bordered by Harrods and Harvey Nichols and is a precious stone’s throw from Kensington Palace. Architectural styles vary with an assortment of sizes, shapes and colours of stone, and various hues of red brick. The total length of the lit facades is more than 500m, making it the largest installation of its kind in the UK, according to GIA Equation.

The lighting is designed to emphasise and unify the disparate architectural elements, and create a unique identity for the area.

There were obvious heritage challenges – fittings had to be unobtrusive – and also a high degree of light spill from retail frontages and branding across the site. The aim was to keep the scheme minimal and tightly controlled, emphasising the vertical elements.

A cooler white light was used for the stone facades, while golden white light illuminates the brick surfaces.

The LED fittings used – ACDC’s specially adapted Plaza 10 surface-mounted uplight – range in colour temperature from 2700K to 6000K. The 1500 individual luminaires are controlled from a single location using a DMX protocol with more than 3000 control channels across 14 DMX universes. This also allows a subtly different facade appearance in summer and winter months.

The customisation involved using a selection of lenses, cowls and colour temperatures that would mix in the required way. Elliptical beams with a narrow beam in the vertical axis are used for the linear luminaires, provided by Traxon. The solution is also very efficient with the lighting using just 3.6W/sqm.

There has been some concession to colour. RGB fittings positioned within the window reveals of the corner landmark buildings allow for colour to be added to the scheme for special occasions and events.

Architect: Donald Insall Associates and Stephen Marshall Architects Contractor: Sutton FM (part of BAM Group) Contract administrator: CHPK Suppliers: ACDC, Traxcon, iGuzzini, Architainment

Lighting Journal April 2015

Photography by James Newton

Project: Knightsbridge Estate Lighting design: GIA Equation Highly Commended (Exterior)

Awards Project: BCP Affinity, Banco de Crédito building, Lima, Peru Lighting design: Claudia Paz Lighting Design Studio with Nicholas Cheung Studio, Arquileds Winner (International Exterior) It’s probably quite brave to let the public loose on the lighting of your building facade, but a few in-built parameters ensure it doesn’t get too out of hand.

It’s certainly a pretty overt way of making a bank seem more accessible, one of the objects of the exercise.

An interactive, three-dimensional installation, Affinity comprises three key elements: the 3D facade canvas with six layers of LEDs (covering 50m x 19m x 1.2m), the interactive LED outdoor podium (1.7m x 1.5m) with multitouch sensors, and the interactive and lighting control systems. The touch-less interface transmits body movements created by individuals on the podium so that they are replicated on the facade.

The slanting podium has stereo speakers either side, and features an

array of Sensacell LED panels which provide a human-scale representation of the facade. The multi-touch electrostatic sensors can sense 3D depth, allowing them to detect a presence on the podium. The network of interactive servers remotely process the live input data, returning the interactive content simultaneously to the facade and back to the podium LEDs. ‘Each interactive show is based on natural phenomena that are designed to evoke a childlike engagement in adults,’ explains lighting designer Claudia Paz. ‘Each show has a unique interface that intuitively steers you to express yourself. Much like a musical instrument, people generate their own composition but smart algorithms are working in the background ensuring a beautiful encounter.’

The outermost of the six LED layers is made up of large Philips ArchiPoint nodes on the end of 532 perpendicular poles in a 19 x 28 grid. The next five layers are composed of Philips Flex MX strings of 10 LEDs, providing finer points

33

of light. There are a total of 26,182 RGB addressable fixtures. The two separate grids allow different aesthetic effects.

One is bright, bold and more sparsely spaced for dramatic moments, while the other is concentrated and subtle for more nuanced sculptural effects.

The orthogonal elements shift according to the onlooker’s viewpoint, an optical illusion exploited by the programming. ‘The result is an aweinspiring experience of light, sound, speed and generative architecture that is directly related to one’s own body movements,’ says Paz. Facade architecture: V.oid Architects Electrical contractor: MAS SAC Podium manufacturer: Clifford Chapman Metalworks Sound artist: Future Sound Design DMX programmer: Ruby Rubenstahl vvvv programmer: Colour Burst Suppliers:Sensacell Panels (Architainment), Philips Color Kinetics, Traxon (Osram)

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Awards

WINNERS IN FULL

LEISURE Sponsor: Lucent Lighting Winner: Everyman Theatre, Liverpool (DHA Designs) Highly commended: London Aquatics Centre (Arup) HOTELS AND RESTAURANTS Sponsor: Orluna Winner: Fera at Claridges (Lighting Design International) Highly commended: Perfectionists’ Cafe, Heston Blumenthal at Heathrow T2 (DPA Lighting Consultants); Cafe Royal (Illumination Works) Commended: Pavilion (Into Lighting); Ham Yard Hotel (Lighting Design International) RETAIL Winner: Kent and Curwen, Savile Row (IlluminationWorks) Highly commended: Atrium office and showroom( BDP) Commended: Matches Fashion, Wimbledon (Paul Nulty Lighting Design)

WORKPLACE Winner: PwC, One Embankment Place, London (Chapman BDSP) Highly commended: The Nova Building (Michael Grubb Studio) Commended: British Museum World Conservation and Exhibition Centre (WCEC), conservation studios and laboratories (Arup) EXTERIOR LIGHTING Winner: King’s Cross Square (StudioFRACTAL) Highly commended: Knightsbridge Estate (GIA Equation); SSE Hydro (Arup) Commended: Debenhams, Oxford Street (Light + Design Associates) LOW CARBON Winner: Cundall Birmingham (CundallLight4) Highly commended: Undercroft, Stansted Airport (Osram and Morgan Sindall) Commended: Re:LIT Project (Michael Grubb Studio) DAYLIGHT Winner: Heathrow T2 (Hoare Lea Lighting) Highly commended: The Hub, BSkyB Campus (Arup) Commended: Reid Building, Glasgow School of Arts (Arup)

PUBLIC BUILDINGS Winner: Heathrow T2 (StudioFRACTAL and Hoare Lea Lighting) Highly commended: Navy, Nelson, Nation at the National Maritime Museum, Greenwich (DHA Designs) Commended: Bonhams (Lifschutz Davidson Sandilands and EQ2 Light); Imperial War Museum London (George Sexton Associates)

SPECIAL PROJECTS: Sponsor: Creative Technology Winner: Emergence, Caviar House and Prunier, Heathrow T2 (Cinimod Studio) Highly commended: Battersea Power Station ( Battersea Power Station Development Company in association with Drive Productions); the London 2012 Olympic Cauldron: Designing A Moment (DHA Designs)

HERITAGE Sponsor: LightGraphix Winner: Dining Hall, Trinity Hall, University of Cambridge (Hoare Lea Lighting) Highly commended: The Great Gallery, The Wallace Collection (Sutton Vane Associates); Ditchling Museum Art + Craft (Lightplan) Commended: Wills Memorial Library (AECOM Lighting Design and FCB Studios)

INTERNATIONAL INTERIOR Sponsor: Oldham Lighting Winner: La Ciudad de los Libros (Luz en Arquitectura) Highly commended: Finch Avenue Optometry, Toronto (Bortolotto Architects); Art Museum Ahrenshoop, Germany (Licht Kunst Licht) Commended: Drachenfels (Dragon Rock) Restaurant (Licht Kunst Licht); Shenzhen Bao’an International Airport, China (Speirs + Major) INTERNATIONAL EXTERIOR Sponsor: LED Linear Winner: Affinity Banco de Crédito building, Lima, Peru (Claudia Paz Lighting Studio and Nicholas Cheung Studio) Highly commended: Opera House Lane, Wellington, New Zealand (Stephenson and Turner NZ); Taxco de Alarcón Lighting Masterplan (Lighteam) Commended: Shipyard Cranes Lighting Giants (Skira) CLIENT OF THE YEAR: Barry Weekes, head of design development, Heathrow Airport (nominated by StudioFRACTAL)

LIGHTING DESIGNER OF THE YEAR Winner: Tim Downey, StudioFRACTAL

Lighting Journal April 2015

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36

Bridge lighting

CREDITS

Consulting engineer, bridge design: Roughan and O’Donovan Bridge aesthetics and original lighting concepts: Sean Harrington Architects Lighting and electrical design and specification: Kevin Cleary and Associates Bridge construction: Graham Projects Lighting installation: GR White Electrical Lighting mast manufacturer Urbis Schreder

CROSSING EXAMINATION

Kevin Cleary outlines the lighting design concept for a brand new bridge in Dublin

T

he Rosie Hackett Bridge is the 21st to be built over the Liffey in Dublin City, and the only one to be named after a woman (a trade union and political activist in the early part of the 20th century). The lighting installation is entirely LED, a first in Ireland for a project of this scale and prominence.

The vision for the bridge was to create a slim, singlearch structure that would interfere as little as possible with the vistas along the Liffey from other bridges and from the quays. Vertical elements on the bridge deck, such as lighting columns, were therefore specifically excluded by the brief.

In addition, as it will carry trams, the deck had to be level with the quaysides, but it also had to facilitate the passage of low profile river traffic.

CONCEPT The concept was based on adapting the required tram cable support masts at the four corners of the bridge, and making a lighting feature of them by cladding them in stainless steel, incorporating a tubular light beacon on top and a circular halo of lights roughly midway up on each one.

As these alone could not provide the level of lighting uniformity needed along the bridge deck, functional traffic route lighting was provided by strip lighting recessed into the flood defence walls on the vehicular flood-protected side.

Lighting of the pedestrian ways was provided by strip lights recessed into the handrails, with uplights in the deck for additional guidance. Finally, the deck edge was delineated

Lighting Journal April 2015

with continuous strip lights, and the underside of the deck with projectors mounted on the quay walls.

DESIGN As a lighting engineer, my initial concern was to provide an adequate standard of lighting on the vehicular lanes. Lighting to Class CE2 (20 lux average, 0.4 uniformity) was achieved with Philips 48 LED EW Graze Powercore strip lights recessed into the flood defence walls at a height of 1m and 3m longitudinal spacing. These were aimed at 10 degrees below the horizontal, and glare was effectively controlled by stainless steel protective louvres.

The tram cable support masts are around 8m high, with three 1.5m long tubular light modules on top, making a total height of 12.5m, plus a 1m mounting plinth. These bespoke masts and their lighting elements were provided

by Urbis Lighting, which very professionally developed the architect’s visual concepts and the engineer’s lighting performance requirements.

Each of the light modules has 17 vertical LED strips fixed around a central core, to produce 6000lm each, creating a total of 18,000lm per mast. This lumen output figure was arrived at as it approximates the output from a 150W highpressure sodium lantern.

A number of materials were evaluated for the tubular enclosure. A frosted acrylic was chosen for its durability and high light transmission qualities (around 80 per cent).

Another feature of the masts is a circular blue light halo

Bridge lighting

ELECTRICAL The electrical supply was taken from a metered distribution pillar at the north-east corner of the bridge. It was decided to provide subsidiary pillars at the other three corners to house the LED drivers and keep cable lengths to a minimum. All light fittings were specified to have factory-made tails long enough to reach the pillars, and IP68 connectors for daisy chain connected luminaires, such as the flood defence wall lights and the pedestrian handrail lights.

The total electrical load for the installation is less than 6kW which is extremely energy efficient for such a prestigious and highly visible project.

SUMMARY The effect of the lighting installation is quite dramatic, particularly as it is located in a city centre area with high ambient light.

The piece de resistance is the beacon concept on the four corners, which show how something as functional as tram poles can be transformed into a thing of beauty with a little thought. The project is also a tribute to the spirit of cooperation that prevailed between the architects and the engineers throughout.

BACKGROUND The new bridge crosses the Liffey between Burgh Quay on the south bank and Eden Quay/Marlborough Street on the north side. Its primary function is to link two existing red and green tramlines, but it will also carry buses, and has a separate pedestrian walkway and cycleway facility on either side.

It is a single span bridge, 48m long and 26m wide, with an extremely slender deck profile of less than half a metre depth at centre span. This allows low clearance river traffic, such as waterbuses, to pass.

The Liffey at this point is tidal, and prone to flooding at very high tides under certain weather conditions. The quay walls help to contain the water, and the new bridge has flood defence walls between the pedestrian and vehicular carriageways, which are integrated with the quay walls by a system of removable tidal flood gates.

This has implications for lighting in the pedestrian areas, which will be flooded occasionally.

The lighting design was developed for Dublin City Council jointly by Sean Harrington Architects and Kevin Cleary and Associates, in partnership with the bridge design engineer, Roughan and O’Donovan.

The lighting concept was initially formulated by SHA in consultation with KCA to establish what was feasible and practical.

Keeping clutter to a minimum, lighting features were made from the tram cable support masts (detail left)

Photography by Deirdre Brennan

at around 5m above ground. Each of these incorporates blue edge strip lighting around the perimeter and 12 LED downlights, which provide an attractive illuminated meeting point area at the base of each mast.

Pedestrian lighting consists of PLM Uniled strips recessed into the handrails, and Bega uplights with an IP68 rating as they will be subject to occasional flooding.

Each edge of the bridge deck is delineated by two continuous rows of PLM strips, one facing outwards horizontally and one directed upwards. These are also sealed to IP68.

Finally, the underside of the bridge was illuminated with Lumascape LS431 LED projectors, three positioned at each corner, mounted on the quay walls. These were again specified with an IP68 rating, as they will also be regularly submerged by high tides. They also needed protection from floating debris, and a robust cage was provided for each cluster of three.

These projectors were paradoxically the most difficult to source and specify. Because of difficulty of access for maintenance, as they are mounted on the quay walls, it was essential that they be long-life LED types. But at the time of original design, nothing suitable was available in LEDs that could be submerged regularly, and that did not rely on the water as a cooling medium, in other words, swimming pool lights that could not operate in free air due to insufficient cooling. So initially a metal halide IP68 projector was specified. However, before construction stage a suitable LED fitting was developed by Lumascape, fortunately obviating future maintenance headaches for the client, Dublin City Council.

37

Lighting Journal April 2015

38

VPs’ column

VALUE JUDGEMENT Scott Pengelly, new VP events, on the ILP programme and the need to continually improve and evolve it

I

n this, my first column as a new vice president within the institution, I want to discuss how we are going to be looking forward in years to come at our events programme, ensuring that we continue to add value to all members who attend.

For many years, the ILP has endeavoured to provide a varied and high quality events programme for its members. However, as Henry Ford so eloquently put it, ‘If you always do what you’ve always done, you’ll always get what you’ve always got’. This is very true of the current events plan where we know that a bit of an update along the way is needed to ensure that in these changing times for our industry we are doing all we can to support our membership.

I have been attending both regional and national events for more than 10 years now and have managed to see some fantastic presentations at a really wide range of venues. It is one of the factors that makes our institution’s events so enjoyable and different.

From churches, rugby clubs, lecture theatres and conferencing facilities, we have been to them all.

We also need to consider how the face of technology is changing the professional learning environment, and the fact that activities such as webinars, video streaming and social media could mean a really different approach to the delivery of events.

We may not be that far away from a time when CPD papers and technical presentations can be watched live through a video stream for those who cannot be there in person.

This could permanently change the way technical content is made available to members in a way to suit them better.

I don’t believe this will ever replace the good old-fashioned networking event, but certainly could add to the overall package available.

In the meantime, it’s worth taking a look at the key events that have been lined up for this year:

Lighting Journal April 2015

LIGHTSCENE The Lightscene event has been key in previous years for taking a mini, oneday, conference-style event around different areas of the country. This gives members the opportunity to see new technology being demonstrated by exhibitors as well as listening to issues being discussed by industry experts.

“

If you always do what you’ve always done, you’ll always get what you’ve always got

For our next one in May this year, we will be visiting Northampton to provide a day focusing on rail lighting applications.

This area has been of real interest to some of our membership and gives a good opportunity for the institution to link up with some key partners from associated industries.

I would encourage all members to try and visit this free-to-attend event and, better still, bring a colleague new to the industry with you for educational purposes. Sometimes, what can be learnt after weeks of training within an office situation can be picked up within hours at this type of event.

PROFESSIONAL LIGHTING SUMMIT This is the real jewel in the crown of the ILP events programme for the whole year. Two days’ worth of presentations covering a vast array of subjects to discuss the most important and interesting issues the industry is currently facing. This year’s event takes place on the 23-24 September in Chester and is looking to be yet another great chance for our institution and its members to come together and discuss issues affecting us all.

HOW TO… The ‘How to...’ series of events, introduced in 2014, has proven to be a great success, with attendance now reaching capacity each time. I have to thank my fellow VP Mark Ridler for driving this forward and developing a range of really interesting speakers and topics. This type of arrangement really shows how a slight change to the normal format has generated renewed interest and attendance, especially for those new to our industry.

For more information on any of the events mentioned, please check out the website where full details can be found.

One of the biggest perennial issues for the events team is providing a quality programme of technical presentations. The time and effort required to develop and present an interesting yet informative paper is often overlooked, but is essential for delivering a quality event. Without this element of our offering, we would simply be an exhibition host and lack the technical elements our membership require.

I would like to take this opportunity to thank all of our presenters for their continued hard work and support to deliver great events. For anyone wanting to become more involved within the institution and who would like to present a paper at one of the events, I would urge you to contact me.

Our members must feel like each ILP event they have attended has somehow added value to their personal or business objectives. It doesn’t matter if you are a lighting engineer, product designer, architect or salesperson, all members should be able to enhance their knowledge or understanding of important issues.

I want to hear from you and what you think of ILP events and what you want to see from us in the future. Feel free to contact me and let me know your thoughts on how we can all work towards adding value to the programme. vp.events@theilp.org.uk

RECRUITMENT

Lighting & Design Services

fresh thinking trusted technology

SCOTLAND SALES MANAGER INDO Lighting is an established, rapidly growing UK lighting manufacturer with an enviable reputation for innovation and fresh thinking.

The team is young, dynamic, fun to work with and hungry for success. Our reputation for unrivalled customer service is one we will not compromise on and has served us well, making us highly respected with our customers across the country.

The Scotland Sales person will cover all of mainland Scotland as well as the outer Islands.

He/she will build on the excellent reputation INDO has with its established customers as well as exploring new opportunities in the country.

Due to an influx in demand we are looking to expand our street lighting team with the appointment of a Lighting Design Engineer based in our Blackburn offices.

You will be a part of the successful exterior lighting team and will be responsible for the production and design of street lighting and electrical layouts across a diverse range of projects including motorways, roads, public realm, architectural and flood lighting.

The successful candidate will need to be flexible in supporting other teams and areas of the business in helping to ensure program delivery to meet client expectations.

Full service street lighting design

We are looking for a confident, energetic and enthusiastic individual. The successful candidate is likely to have a history within the Lighting Industry as well as sales experience.

An interest or qualification in the technical arena would be an advantage.

Design packages – feasibility reports & asset data verification

Candidates must have working experience of MS Office and using CRM/ERP systems.

Electrical testing and inventory compliance

Remuneration will be a very competitive basic salary plus commission. A car will be provided.

Project management – from contract mobilisation to installation delivery Small, large and bespoke projects - new/replacement column and multiple LED invest to save retro-fit schemes

Contact email address james.huyton@capita.co.uk

For a detailed Job Description or simply to discuss the post please email careers@indolighting.com or call 020 3051 1687 CLOSING DATE FOR APPLICATIONS: 10th May 2015

retrofitting

induction

LED

low maintenance technology

lighting specialists

lamp retrofits

www.indolighting.com

Lighting Your Way To A Brighter Future

40 Products

What’s new Cree

Erco

Starpoint range The slim Starpoint collection includes pendant, wall-mounted and surfacemounted luminaires, designed primarily for the leisure environment. The Spherolit lens system with collimator allows a very precise, uniform beam – punchy enough for a 3m ceiling height – which comes in wide, elliptical and extrawide flood widths. Available in black, white and polished chrome, the pendant has the option of a translucent ring on the underside, visible only when illuminated with the effect of elongating the cylinder. With a load of 8W-18W, the luminaire comes in 3000K and 4000K options and is available with Dali. www.erco.com

Hess

Dalvik The Dalvik collection of LED luminaires has a range of adapters for pole diameters from 60mm-230mm and comes with three Levo Q LED module options with both symmetrical and asymmetrical distributions. Colour temperatures are 3000K, 4000K and 5600K. A winner at the 2014 Iconic Awards and awarded the BadenWürttemberg Focus Silver 2014 international design prize, it comes with matching aluminium benches with slats in PEFC-certified ash wood. Further expansion of the range is planned. www.hess.eu

Lighting Journal April 2015

LR22 The LR22 is a 595mm x 595mm recessed commercial fitting with an efficacy up to 95lm/W. Featuring inbuilt Dali control or standard 1-10V dimming, it has Cree’s TrueWhite technology and comes in 3000K and 4000K options. As with other Cree fittings, it has a 10-year warranty.

The company estimates a two-year payback, calculated against a fluorescent 4x18W equivalent operated on a 24/7 basis on 60,000 hours’ lifetime. The payback on a commercial usage of 11 hours, calculated on 10 years’ lifetime, is 3.5 years. www.cree.com

Products

41

Vibia

Ness The Ness collection comprises six hanging luminaires and a standard reading lamp. The edgelit LED head (5 x 2W) produces a diffuse light from an extremely thin surface. The design allows angular adjustment. Both the head and arms swivel to change both its use and appearance. The range includes linear hanging versions for bar counters and reception areas. The angled version with adjustable arms allows the light to be directed to any chosen point or surface. The range is available in graphite and matt white finish with a polycarbonate shade and adjustable output of 1-10V. www.vibia.com

Fagerhult

Marathon Tunable With a colour temperature range from 2700K to 6500K (RA90), the Marathon Tunable spotlight allows the light to be adjusted according to the merchandise or display item without changing luminaires. Available in black or white, the fitting has a beam width of 43 degrees and an output of 1680lm (61lm/W). www.fagerhult.com

Signature

SafeWay SafeWay has been introduced in response to the move by many local authorities to reduce the speed limit from 30mph to 20mph in school zones at the times when pupils are in the immediate vicinity. It combines LED signal technology, a retroreflective sign plate and a digital preprogrammable timer. The timer can be preloaded with flashing LED beacons (with a 10-year lifetime) highlighting the reduced speed limit message. The timer then deactivates the unit when the area returns to a 30mph zone. SafeWay also helps reduce clutter by combining the LED signal with a road sign in one pole-mounted unit. www.signatureltd.com

Lighting Journal April 2015

42 Light on the Past: 15

THE MECHANISM Simon Cornwell relates how this mysterious ingredient of successful lighting installations was finally discovered and how it resulted in a new view on street lighting itself

S

ometimes an idea comes along and it will change an industry.

Such a momentous event occurred during the Association of Public Lighting Engineers’ 1934 Conference in Aberdeen, when Jack Waldram of GEC stood up to give a paper entitled Road Surface Reflection Characteristics and their Influence on Street Lighting Practice.

He certainly knew that the team at GEC was sharing an important new discovery concerning ‘the mechanism’, or the hitherto unknown quality that determined how good a street lighting system was (and the lack of understanding of which had led to the false start of British Standards Specification 307: 1927), but I doubt that he realised what a fundamental impact it would make.

Other researchers and lighting engineers had already stumbled on

fundamental parts of the mechanism and had left clues scattered throughout the literature. Trotter made an offhand remark in his groundbreaking Illumination: Its Distribution and Measurement (1911) when discussing the derided ‘beacon lighting’ by noting that ‘one can see carriages as dark masses of shadow rather than illuminated objects’. President of the APLE, JF Colquhoun, made another prophetic observation during the Sheffield experiment (1928) that ‘[the] brightness of the road surface, brought about by the rays of light striking the roadway at oblique angles, does help the effectiveness of the illumination on the road surface’.

Yet despite some installations somehow working better than others, there was little commercial impetus to undertake research and development into the matter. That was until the

By making the road surface bright, pedestrians and other objects in the carriageway could be seen in silhouette (left) rather than directly illuminated (right)

Lighting Journal April 2015

The ‘mechanism’ was the oft-named mysterious element of street lighting installations that eluded researchers for years.

This missing ingredient, occasionally realised by accident in some installations, ensured their superiority over others, when both worked equally well on paper. This lack of understanding led to the false start of British Standards Specification 307: 1927, and with the advent of the discharge lamp, the search was on to discover what the mechanism was, and how it could be used. advent of the electrical discharge lamp, which finally brought efficient street lighting into the realms and finances of many local authorities. Spurred on by the knowledge that there was a ‘mechanism’, and that its own Watford lantern was seemingly possessed of this magical ability, GEC devoted time and research to determining how this lantern’s optics produced such good street lighting, while other lanterns, which seemingly worked on paper, were so woeful in practice.

It was Waldram who stumbled on the missing part of the puzzle, especially as he was always questioning the status quo, particularly the fondness for isofoot-candle diagrams and the use of arcane practices involving knotted string or oblique rules-of-thumb. His approach was simple: ‘What can I see?’ In altering his viewpoint from the overhead plan view of the interior lighting designer – concerned with working planes and constant illumination – to the perspective of the car driver and pedestrian, then the first piece of the puzzle was put in place.

What could he see? Not the perfectly calculated ellipses and smooth curves of the iso-foot-candle plots but a large pool of light beneath the base of the lantern and a long, thin streak of light approaching the viewer. What could he see? Not illumination, but the luminous intensity of light reflected from the road surface which was originally cast and redirected by the lantern.

None of the iso-foot-candle diagrams and illumination calculations predicted this: the reflection characteristics of the road surface and the perspective view of the observer were fundamental

Light on the Past: 15

43

The vindication of GEC’s theory was proved by the Fulham Road installation (1937) which featured heavily in its literature. By switching on, and photographing, each lantern in turn, the way in which the uniform road surface brightness was constructed from individual ‘tails’ of reflected light was clearly shown. Drivers’ reactions to this very public demonstration remain unrecorded

to both understanding and solving the problem.

Experimental work started in earnest by determining which optical arrangements could produce the best reflection from the road surface. And it quickly became apparent that their options were limited: no amount of tinkering with the optical equipment could persuade any light to reflect back from beyond the lantern.

Therefore the road in this region remained dark; the pool of light beneath the lantern remained stubbornly fixed in place and size, and the long streak couldn’t be made any wider by any dexterity in prism manufacturing, but could be made brighter and longer by increasing the main beam angle of the lantern.

Column placement and installation planning then became a matter of perspective fiddling, with columns placed so the long tails of light from all their beams coalesced on the main carriageway as one uniform bright area. Lanterns had to be mounted on the outside of bends, reinforcing

Waldram’s earlier theories, ensuring the bright tails crossed the entire carriageway and a siting gauge was developed to allow lighting engineers to plot out installations in-situ.

It was the end of plan-based street lighting with units placed at equal spacing in symmetrical groups and patterns on maps. And with the surface of the roadway now bright, any obstructions could be seen as dark objects against this bright background – the concept of silhouette vision, or negative contrast as it would become known, was born.

But although the principles underlying the mechanism were now known, it was not an ideal solution.

Increasing the beam angle produced the bright tails on the road surface, but also caused a significant increase in discomfort glare. GEC’s solution was more research into discomfort glare itself, pushing the theory that if the road surface was the brightest object in the field of view, then the individual glare effects from the lanterns would be lessened, or even obviated.

Others disagreed, and new arguments started about compromises between beam angle, discomfort glare and the length of the tail of light on the road surface. It also led to a schism between mainstream UK practice, which mostly adopted these new noncut-off (or high beam) lanterns, and European practice, where the amount of glare was totally unacceptable and they took to cut-off optical systems instead. The two would remain at loggerheads for the next 30 years.

Waldram’s paper at that Aberdeen conference resulted in a massive paradigm shift, a move away from an illumination model, and a change in lantern design that would dominate street lighting practice until the late 1960s. His paper was also just in time as the Ministry Of Transport announced the formation of a Departmental Committee to look into street lighting later that year – and Waldram’s ideas would become key component parts of the committee’s deliberations, experiments and their final recommendations.

Lighting Journal April 2015

Lighting Consultants

These pages give details of suitably qualified, individual members of the Institution of Lighting Professionals (ILP) who offer consultancy services.

Go to: www.ilp.org.uk for more information and individual expertise

Carl Ackers

Stephen Halliday

Nick Smith

Built Environment Consulting Ltd

WSP

Nick Smith Associates Limited

MSc CEng MCIBSE MILP MSLL

Castle Donington DE74 2UH

EngTech AMILP

Manchester M50 3SP

IEng MILP

Chesterfield, S40 3JR

T: +44 (0) 1332 811711 M: 07867 784906 E: carlackers@bec-consulting.co.uk

T: 0161 886 2532 E: stephen.halliday@wspgroup.com

T: 01246 229444 F: 01246 270465 E: mail@nicksmithassociates.com

With many years’ experience we are able to bring a wealth of knowledge to the design process. Our vision is to deliver class leading sustainable solutions for the built environment, including specialist internal and external lighting design and specification services, record for PFI projects and their indepedent certification.

Public and private sector professional services providing design, technical support, contract and policy development for all applications of exterior lighting and power from architectural to sports, area and highways applications. PFI technical advisor and certifier support, HERS registered personnel.

Specialist exterior lighting consultant. Private and adopted lighting and electrical design for highways, car parks, area and sports lighting.

Lighting Impact assessments, expert witness and CPD accredited Lighting design AutoCAD and Lighting Reality training courses

Steven Biggs

Philip Hawtrey

Anthony Smith

Skanska Infrastructure Services

Mouchel

Stainton Lighting Design Services Ltd

T: +44 (0) 1733 453432 E: steven.biggs@skanska.co.uk

T: 04489 501091 E: philip.hawtrey@mouchel.com

www.bec-consulting.co.uk

IEng MILP

Peterborough PE1 5XG

www.wspgroup.com

BTech IEng MILP MIET

Sutton Coldfield B72 1PH

www.nicksmithassociates.com

Eng MILP

Stockton on Tees TS23 1PX

www.mouchel.com

T: 01642 565533 E: enquiries@staintonlds.co.uk

Widely experienced professional technical consultancy services in exterior lighting and electrical installations, providing sustainable and innovative solutions, environmental assessments, ‘Invest to Save’ strategies, lighting policies, energy procurement, inventory management and technical support. PFI Technical Advisor, Designer and Independent Certifier.

www.staintonlds.co.uk

Award winning professional multi-disciplinary lighting design consultants. Extensive experience in technical design and delivery across all areas of construction, including highways, public realm and architectural projects. Providing energy efficient design and solutions.

Specialist in: Motorway, Highway Schemes, Illumination of Buildings, Major Structures, Public Artworks, Amenity Area Lighting, Public Spaces, Car Parks, Sports Lighting, Asset Management, Reports, Plans, Assistance, Maintenance Management, Electrical Design and Communication Network Design.

John Conquest

Allan Howard

Alan Tulla

4way Consulting Ltd

WSP

Alan Tulla Lighting

www.skanska.co.uk

MA BEng(Hons) CEng MIET MILP Stockport, SK4 1AS

T: 0161 480 9847 M: 07526 419248 E: john.conquest@4wayconsulting.com

BEng(Hons) CEng FILP FSLL London WC2A 1AF

T: 07827 306483 E: allan.howard@wspgroup.com

www.wspgroup.com

IEng FILP FSLL

Winchester, SO22 4DS

T: 01962 855720 M:0771 364 8786 E: alan@alantullalighting.com

Providing exterior lighting and ITS consultancy and design services and specialising in the urban and inter-urban environment. Our services span the complete Project Life Cycle for both the Public and Private Sector

Professional artificial and daylight lighting services covering design, technical support, contract and policy development including expert advice and analysis to develop and implement energy and carbon reduction strategies.

Expert witness regarding obtrusive lighting, light nuisance and environmental impact investigations.

Lorraine Calcott

Alan Jaques

Euan Clayton

it does lighting ltd

Atkins

Clayton Fourie Consultancy Ltd

www.4wayconsulting.com

IEng MILP MSLL MIoD

Milton Keynes, MK14 6GD

IEng MILP

Nottingham, NG9 2HF

www.alantullalighting.com Site surveys of sports pitches, road lighting and offices. Architectural lighting for both interior and exterior. Visual Impact Assessments for planning applications. Specialises in problem solving and out-of-the-ordinary projects.

IEng MILP

Edinburgh, EH15 3RT

T: 07722 111424 E: claytonfourie@aol.com

www.itdoes.co.uk

T: +44 (0)115 9574900 M: 07834 507070 E: alan.jaques@atkinsglobal.com

www.atkinsglobal.com

Award winning lighting design practice specialising in interior, exterior, flood and architectural lighting with an emphasis on section 278/38, town centre regeneration and mitigation for ecology issues within SSSI’s/SCNI’s.Experts for the European Commission and specialists in circadian lighting

Professional consultancy providing technical advice, design and management services for exterior and interior applications including highway, architectural, area, tunnel and commercial lighting. Advisors on energy saving strategies, asset management, visual impact assessments and planning.

Internationally experienced multi-disciplinary consultants. We provide design and technical advice on all aspects of exterior lighting, hazardous area lighting, traffic signals and other highway electrical works.We also provide Planning Advice, Road Safety Audits and Expert Witness Services

Mark Chandler

Tony Price

Simon Butt

MMA Lighting Consultancy Ltd

Vanguardia Consulting

Capita

T: 01908 698869 E: Information@itdoes.co.uk

EngTech AMILP

Reading RG10 9QN

BSc (Hons) CEng MILP MSLL Oxted RH8 9EE

T: 0118 3215636 E: mark@mma-consultancy.co.uk

T: +44(0) 1883 718690 E:tony.price@vanguardiaconsulting.co.uk

Exterior lighting consultant’s who specialise in all aspects of street lighting design, section 38’s, section 278’s, project management and maintenance assistance. We also undertake lighting appraisals and environmental lighting studies

Chartered engineer with wide experience in exterior and public realm lighting. All types and scales of project, including transport, tunnels, property development (both commercial and residential) and sports facilities. Particular expertise in planning advice, environmental impact assessment and expert witness.

Colin Fish

Alistair Scott

WSP

Designs for Lighting Ltd

www.mma-consultancy.co.uk

IEng MILP

Hertford SG13 7NN

www.vanguardiaconsulting.co.uk

BSc (Hons) CEng FILP MIMechE Winchester SO23 7TA

T: 07825 843524 E: colin.fish@wspgroup.com

T: 01962 855080 M: 07790 022414 E: alistair@designsforlighting.co.uk

Providing design and technical services for all applications of exterior and interior lighting from architectural to sports, rail, area, highways and associated infrastructure. Expert surveys and environmental impact assessments regarding the effect of lighting installations on wildlife and the community.

Professional lighting design consultancy offering technical advice, design and management services for exterior/interior applications for highway, architectural, area, tunnel and commercial lighting. Advisors on lighting and energy saving strategies, asset management, visual impact assessments and planning.

www.wspgroup.com

www.designsforlighting.co.uk

www.clayton-fourie-consultancy.com

BEng(Hons) CEng, MICE, MILP, MAPM Blackburn, BB2 1AU

T: 01254 273000 E: simon.butt@capita.co.uk

www.capita.co.uk/infrastructure

Capita are a market leading design consultant, who specialise in street lighting design, LED retrofit schemes and project management. We also provide budget reducing solutions through technical expertise in products, specifications and procurement. We offer energy reduction advice, funding mechanisms and financial evaluations.

IF YOU WISH TO BE INCLUDED IN THIS DIRECTORY PLEASE CONTACT JULIE FOR MORE INFORMATION: ENTRY IS ALSO ON THE MAIN ILP WEBSITE ONLY ADVERTISERS IN THE JOURNAL CAN BE INCLUDED ONLINE.

Neither Lighting Journal nor the ILP is responsible for any services supplied or agreements entered into as a result of this listing.

JULIE@MATRIXPRINT.COM 01536 527297

LIGHTING DIRECTORY LIGHTING DIRECTORY LIGHTING DIRECTORY LIGHTING

DIRECTORY TO ADVERTISE IN THE LIGHTING DIRECTORY PLEASE CONTACT JULIE - 01536 527297 julie@matrixprint.com

EXTERIOR LIGHTING

ARCHITECTURAL LIGHTING COLUMNS

Designers and manufacturers of street and amenity lighting.

COLUMN INSPECTION & TESTING CUT OUTS & ISOLATORS

Meadowfield, Ponteland, Northumberland, NE20 9SD, England Tel: +44 (0)1661 860001 Fax: +44 (0)1661 860002 Email: info@tofco.co.uk www.tofco.co.uk Manufacturers and Suppliers of Street lighting and Traffic Equipment • Fuse Units • Switch Fuse Units • Feeder Pillars and Distribution Panels • The Load Conditioner Unit (Patent Pending) • Accessories Contact: Kevin Doherty Commercial Director kevindoherty@tofco.co.uk If you would like to switch to Tofco Technology contact us NOW!

Kiwa CMT Testing Non-destructive testing at the root, base, swaged joint and full visual inspection of steel lighting columns.

Techniques employed include the unique Relative Loss of Section meter and Swaged Joint Analyser in addition to the traditional Magnetic Particle inspection and Ultra Sonics where appropriate.

Unit 5 Prime Park Way Prime Enterprise Park Derby DE1 3QB Tel 01332 383333 Fax 01332 602607 cmtenquiries@kiwa.co.uk www.kiwa.co.uk

319 Long Acre Nechells Birmingham UK B7 5JT t: +44(0)121 678 6700 f: +44(0)121 678 6701 e: sales@candela.co.uk

candela L I G H T

ELECTRICAL DISTRIBUTION

MACLEAN ELECTRICAL LIGHTING DIVISION Business info: Specialist Stockist and Distributors of Road Lighting, Hazardous Area, Industrial/ Commercial/ Decorative lighting. We also provide custom-built distribution panels, interior and exterior lighting design using CAD. 7 Drum Mains Park, Orchardton, Cumbernauld, G68 9LD Tel: 01236 458000 Fax: 01236 860555 email: steve.odonnell@maclean.co.uk Web site: www.maclean.co.uk

FESTIVE & DECORATIVE LIGHTING

Specialist in high quality decorative and festive lighting.

A full range of equipment is available for direct purchase or hire including unique firework lights, column motifs, cross road displays, festoon lighting and various tree lighting systems.

Our services range from supply only of materials, hire, design and or total management of schemes.

More information is available from: Head Office City Illuminations Ltd Griffin House, Ledson Road, Roundthorn Ind Est Manchester M23 9GP Tel: 0161 969 5767 Fax: 0161 945 8697 Email: dave@cityilluminations.co.uk

TRAINING SERVICES

METER ADMINISTRATION

CPD Accredited Training • AutoCAD (basic or advanced) • Lighting Reality • AutoluxLighting Standards • Lighting Design Techniques • Light Pollution • Tailored Courses please ring Venues by arrangement Contact Nick Smith

Nick Smith Associates Ltd 36 Foxbrook Drive, Chesterfield, S40 3JR t: 01246 229 444 f: 01246 270 465 e : mail@nicksmithassociates.com w: www.nicksmithassociates.com

Meter Administrator Power Data Associates Ltd are the leading meter administrator in Great Britain. We achieve accurate energy calculations assuring you of a cost effective quality service. Offering independent consultancy advice to ensure correct inventory coding, unmetered energy forecasting and impact of market developments.

01525 862690

info@PowerDataAssociates.com www.PowerDataAssociates.com Wrest Park, Silsoe, Beds MK45 4HR

SHATTER RESISTANT LAMP COVERS

LIGHT MEASURING EQUIPMENT

Holscot Fluoroplastics Ltd

HAGNER PHOTOMETRIC INSTRUMENTS LTD Suppliers of a wide range of quality light measuring and photometric equipment.

HAGNER PHOTOMETRIC INSTRUMENTS LTD PO Box 210 Havant, PO9 9BT Tel: 07900 571022 E-mail: enquiries@ hagnerlightmeters.com www.hagnerlightmeters.com

WIND RELEASING BANNERS

Fluorosafe shatter resistant covers – Manufactured from high molecular weight Fluoroplastic material whose lifespan exceeds all maximum quoted lifespans for any fluorescent Lamps.

Holscot supply complete covered lamps or sleeves only for self fitting.

Alma Park Road, Alma Park Industrial Estate, Grantham, Lincs, NG31 9SE Contact: Martin Daff, Sales Director Tel: 01476 574771 Fax: 01476 563542 Email: martin@holscot.com www.holscot.com

LIGHTING

fresh thinking trusted technology

- Direct LED retrofit lamps - LED gear tray retrofits - Induction Lighting

0203 051 1687 www.indolighting.com

TO ADVERTISE IN THE LIGHTING DIRECTORY PLEASE CONTACT JULIE 01536 527297

DIARY 21-23

5-7

21-24

Traffex 2015 Venue: Hall 5, NEC Birmingham www.traffex.com

Lightfair 2015 Trade show and IALD conference Venue: Javits Center, New York www.lightfair.com

LED Expo Thailand 2015 Venue: Impact Exhibition and Conference Centre, Bangkok www.ledexpothailand.com

14

22-26

SLL Masterclass: Light for Life Location: Royal Society of Arts John Adam Street, London WC2 www.sll.cibse.org

Outdoor Lighting Projects UAE Conference Venue: Sheraton Grand Hotel, Dubai www.outdoorlightinguae.com

18

May

April

28

April How to be Brilliant with: Neil Knowles Founder Elektra Lighting (Organised by the ILP) Venue: ACDC Studio, London N1 Time: 6.30pm jo@theilp.org.uk

30

April Lighting and the Transport Sector (Konica Minolta, in association with the ILP, Department of Business, Innovation and Skills, Pro Lite Technology, and Photometric and Optical Testing Services) Venue: DBIS, Victoria Street, London jo@theilp.org.uk

30

April

May

May

May Exterior Lighting Diploma Module 3 Venue: Draycote Hotel, Nr Rugby jean@theilp.org.uk

19

May How to be Brilliant with: Rebecca Weir, Light IQ (Organised by the ILP) Venue: ACDC Studio, London N1 Time: 6.30pm jo@theilp.org.uk

SLL Masterclass: Light for Life Location: Watershed, Bristol www.sll.cibse.org

21

4-5

SLL AGM and Awards Venue: RIBA 66 Portland Place, London W1 www.sll.cibse.org

LightingTech Qatar Venue: Qatar National Convention Centre Doha www.lightingtechqatar.com

21

May

5-7 May: Lightfair, Javits Center, New York

May

May Lightscene: On the Right Track (ILP event) Venue: Northampton Saints Rugby Club jo@theilp.org.uk

May

May

29-31 Third International Conference of Artificial Light at Night (ALAN 2015) Location: Sherbrooke Quebec, Canada www.artificiallightatnight.org

10

June Light, Time and Health: Biology to Architecture (Organised by the ILP) Speaker: Russell Foster, Professor of Circadian Neuroscience and head of the Department of Opthalmology, University of Oxford Venue: Royal Institution www.theilp.org.uk/events/professor-russellfoster/

28

June-4 July

28th CIE Session Venue: University Place, University of Manchester www.cie2015.org

30

June How to be Brilliant with: James Siddle, Ideaworks (Organised by the ILP) Venue: ACDC Studio, London N1 Time: 6.30pm jo@theilp.org.uk

29

July Obtrusive Light: Navigating the Compliance Minefield (Organised by the ILP) Venue: BRE, Watford www.bre.co.uk/eventdetails.jsp?id=8648

23-24

September Professional Lighting Summit (Organised by the ILP) Venue: Queen Hotel, Chester jess@theilp.org.uk

Full details of all regional events can be found at: www.theilp.org.uk/events

Smarter, Leaner, Stronger, Together.

Traffex 2015 www.Traffex.com

There’s nothing straight forward about the traffic industry.

New legislation, new materials, new technology, new products, new ideas – and new thinking. Constantly changing and evolving but always interesting.

Every two years, Traffex brings together 400 companies, 10,000 traffic industry professionals and limitless ideas – for three days of smarter thinking, creating a stronger industry.

21-23 April 2015 | The NEC, Birmingham, UK

Co-located event

Register online now for your FREE ticket at www.traffex.com Content partners

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