Lighting Journal January 2015

LIGHTING

JOURNAL

January 2015

The publication for all lighting professionals

The world’s a stage: theatre lighting in the city Extraordinary measures – light meters and LEDs LUCI and Lux Award winners

Lighting Journal January 2015

03 EDITORIAL 04 NEWS 08 ENLIGHTEN

The new-look Opinion page

10 ALL THE WORLD’S

10

A STAGE

Francis Pearce looks at the role of entertainment lighting techniques and technology in the urban environment

16 RESTORATION DRAMA

Winners of the 12th city.people. lights awards

20 EXTRAORDINARY MEASURES

Ivan Perre explains why just any old light meter won’t do when it comes to LEDs

24 COMBINED HONOURS

24

Jill Entwistle highlights three of the latest Lux Award-winning schemes that seamlessly blend natural and artificial light

28 SAFE AND SOUND?

In the first of a two-part feature Mark Tidswell looks at condition reporting to BS7671 and discusses the testing element

Contents

35 SUNNY SIDE OF

THE STREET

Future concept 2: the solar road to power supply

36 SUSTAINABLE CASE

PIP Forum: what does sustainability mean and how do you achieve it?

40 ESSENTIAL READING

VPs’ Column: Mark Ridler, VP architectural, on the launch of a new ILP resource

42 PRODUCTS 44 THE MODEST

LIGHTING ENGINEER Light on the past: Simon Cornwell on PJ Robinson, the man who pioneered low pressure sodium and concrete columns

45 CONSULTANTS’ DIRECTORY

46 LIGHTING DIRECTORY 48 DIARY

34 LIQUID ASSETS

Future concept 1: a spray-on glow

COVER PICTURE

36

Korean TV network broadcaster MBC at the new Digital Media City, Sangam district, Seoul, lit by stage lighting specialist NES. See All the World’s a Stage, p10

Lighting Journal January 2015

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Editorial 3 Volume 80 No 1 January 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

T

his being panto season and all (oh yes it is) it seems apposite that there is a theatrical flavour to the issue. First we look at the longrecognised infiltration of entertainment technology and techniques

into the urban environment (All the world’s a stage, p10). It probably began with fittings such as those big beast Vari-lite Irideon colour-change projectors that you might recall temporarily turned Croydon into a half-interesting place some two decades ago under the supervision of Speirs and Major. Those, of course, were dichroic halogen fittings, expensive in both budgetary and energy terms, which was always going to prohibit their widespread use. But the newer technologies and the improved means of controlling them have made them more viable in what were formerly often prosaically lit urban environments.

‘The introduction of good quality LED colour-changing and DMX protocols that work has opened up the possibility of theatrical lighting approaches to public spaces because it is no longer a maintenance issue or an inefficient approach to lighting design,’ says lighting consultant

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

Michael Grubb. The latest city.people.light awards (Restoration drama, p16) are a perfect illustration of this pervasive influence, which of course goes way beyond just splashing a bit of colour about. What the winning Leipzig scheme demonstrates is that this approach doesn’t necessarily equate to the brashness of some old panto dame, but is rather about creating mellow and dramatic, not melodramatic, spaces.

Produced by Jill Entwistle 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

Editor

© 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 January 2015

4 News

Light List launched

The ILP has launched its Light List – detailing more than 100 carefully researched publications about light – to an audience of more than 40 lighting designers. The special event was held towards the end of last year at BDP’s London offices.

The list was the idea of lighting designers Mark Ridler, vice president architectural of the ILP, and ILP member Mark Major, principal of Speirs and Major, who both saw the value to lighting designers of having access to this type of literary database.

‘The list shows both the theoretic rigour and the artistic creativity behind lighting,’ says Major.

As part of An Evening of Light and Inspiration, the audience also enjoyed a thought-provoking presentation by Matthew Clark, founder of United Visual Artists. Clark explored themes such as the perception of time in UVA’s projects and explained the highly complex work behind some of its recent installations, such as Momentum at the Barbican (pictured left).

The ILP is committed to the development of a carefully crafted programme of events, resources and education support for independent lighting designers, a rapidly growing part of its membership.

Feedback for the event was extremely positive with several new members signing up that night, including Iain Ruxton of Speirs and Major, Paul Traynor of Light Bureau, David Atkinson of David Atkinson Lighting and Tom Miller of Light IQ.

Arup exhibition focuses on urban lighting Arup has opened an exhibition at its London head office in the foyer space focusing on lighting and the 24-hour nature of the city.

24:00:00 looks at the concept of urban lighting through interactive exhibits, 3D models, film and immersive experiential spaces. It aims to bring together new ideas and innovative technologies to examine how lighting can make a positive impact on urban environments.

‘The 24-hour city is an amalgamation of constantly changing conditions,’ says senior lighting designer Melissa Mak, who has helped curate the exhibition. ‘We see the city in the daytime, and the same city in the night-time, yet we often take for granted how implicit light is to crafting and shaping our experience.’

24:00:00 runs until 1 March 2015 at 8 Fitzroy Street, London W1. Open Monday-Friday, 9am-6pm. Admission is free. The SLL will be holding a viewing event there on 21 January (www.sll.cibse.org)

TfL sets up project to examine whole life cost lighting Transport for London has set up a project to identify lighting technologies that will improve whole life costs (WLCs) across the network, as well as deliver other social, environmental and economic benefits.

The PRO-LITE project is aiming to identify seven different types of lighting products, and fulfil the following aims: • Identify potential future lighting suppliers and manufacturers that TfL could work with • Understand better the attributes that define quality lighting products and their availability in the market • Define the questions it will need to ask as part of future procurement processes To get involved, go to www.prolitepartnership. eu/submissiontool/

Future cities call for radical rethink, says report There will be a minimum of 26 smart cities worldwide by 2025 with more than half in Europe and North America, according to a recent report by US researcher Frost and Sullivan.

By 2025, nearly three-fifths of the world’s population, or 4.6bn people, will live in an urban setting and in developed regions. ‘This new era of urbanisation will force planners to radically rethink how they create cities, develop digital infrastructure and provide services to residents in a sustainable manner across a range of key parameters,’ says the report.

Lighting Journal January 2015

The report defines smart cities as those built around ‘smart’ and ‘intelligent’ solutions and technology that lead to the adoption of at least five of eight key parameters – energy, building, mobility, healthcare, infrastructure, technology, governance and education, and citizen.

According to Ivan Fernandez, industry director for Frost and Sullivan Australia and New Zealand, who presented the results of the study at a conference in Sydney last month, governments of smart cities are already ‘transforming from a traditional model of a silo-based organisation to a

more collaborative, integrated service delivery model’. Cities will collaborate with each other to drive smart city innovation by entering into partnerships with each other, said Fernandez.

Smart energy is the fastest growing market segment within the smart cities movement and will be driven by the largescale adoption of smart grids and intelligent energy solutions, according to the study.

‘Smart Energy will make up 24 per cent of the total global smart city market in 2025, growing at a compound annual growth rate of 28.7 per cent from 2012-2025.’

News 5

ILP sees major boost in membership The ILP has celebrated a record year for new members with more than 400 people signing up in 2014. That represents more than double the normal new membership intake, with many individuals joining from the independent lighting design profession.

The institution also now has 32 new corporate members out of a current total of 120 companies.

‘People obviously want to be a part of our institution in order to be viewed as a lighting professional,’ said Guy Harding, VP membership. ‘The diversification away from the traditional role of lighting engineer has really helped broaden our appeal.’

Chief executive Richard Frost said that many had questioned the wisdom of relaunching the institution in the middle of a deep recession. ‘Four years on and I think

BMW develops street light with EV charger Car manufacturer BMW has launched a prototype street lighting system equipped with a charger for electric vehicles (EVs).

The Light and Charge LED street lights can be integrated into BMW’s ChargeNow network, which BMW claims is the largest in the world with 18,000 stations in Europe.

The thinking is that it should cost less for cities to implement than installing a large number of dedicated fast chargers. It would also make it easier to find a charger, one of the problems that is currently inhibiting sales of EVs. As long as there are no parking restrictions, drivers could park on the street and come back to a fully charged vehicle.

The charger is integrated into the column.

The design requires that the vehicle owner has a Level 2-rated cable to attach to the charger, which is fed power from the existing electrical infrastructure. As each charger connects users to ChargeNow, BMW i car owners can take advantage of cashless payments.

The prototype system will be rolled out as part of a pilot project in Munich in 2015.

that question is being answered,’ he said.

‘The lighting profession is getting what the change was all about and is realising that the ILP has taken a quantum leap forward from its historical roots to broaden its remit and be truly representative of all sectors of the profession.’

However, said Harding, it was important that all members, both new and old, looked to upgrade to Associate Member and Member grades to fully demonstrate professionalism and competence.

These levels of membership carry the Engineering Council grades of EngTech (Engineering Technician) for Associate Members, and IEng (Incorporated Engineer) or CEng (Chartered Engineer) for Members and allow the use of post nominals.

‘It will be my personal aim over the

next few years to encourage as many of our members, long-standing or new, to upgrade,’ said Harding. ‘The process is straightforward and achievable, even for people without a degree or formal tertiary education.’

A bright spot in winter

An artwork/temporary structure designed to bring a glimmer of light into the dark winter months was installed at Granary Square, in London’s Kings Cross, from early December to mid-January.

Winter Sun is a circular structure, 5m high by 18m wide, designed to stand among the trees in the square. The endlessly dimming and brightening social space was encircled by 12 glowing ‘suns’ emulating natural light. Four suns approximated daylight, and featured 11 strips of cool white LEDs emitting 10,000 lux (the same output as SAD lamps), while four others, with RGB LEDs, continuously simulated daybreak. Those in the darkened corridors appeared like moons, and were illuminated using recorded light from around the structure projected back into the space on a video feed.

The work was commissioned by King’s Cross and is a collaboration between artists James Bowthorpe and Kim Coleman, with architect Andrew Lock.

A further warming ingredient was the bar at the centre of the structure where visitors could try unusual and award-winning drinks, and a range of food. The design of the bar, down to the lighting and staff uniforms, was all part of the creative concept, referencing sunlight. Table tops, for instance, were painted with light sensitive ‘cyanotype’ fluid.

Lighting Journal January 2015

6 News NEWS IN BRIEF The new PLG05: The Brightness of Illuminated Advertisements will be published by the ILP this month. The guide replaces the old TR5 and has been updated to reflect changes in technology, the legal framework and lighting practice, and now includes the application of media screens and facades. The document is aimed at planners and lighting specialists, and provides guidance on the planning, assessment and maintenance of all forms of illuminated advertisements.

Senior vice president Elizabeth Thomas recently represented the ILP as a speaker at the ME Smart Lighting and Energy Summit in Abu Dhabi. Her presentation to more than 300 delegates centred on the institution. Guidance on the specification requirements of Abu Dhabi, referencing several ILP technical publications, was also launched at the event by the Municipality’s lighting expert, Martin Valentine.

Following the success of last year’s first How to be Brilliant series organised by the ILP, a new programme has been launched for 2015. Free of charge and designed to be fun and accessible get-togethers, the events feature expert speakers covering aspects of lighting careers that formal training may not have covered. Among this year’s line-up is Florence Lam, global lighting leader at Arup; Michael Grubb of Michael Grubb Studio; Neil Knowles, founder of Elektra Lighting; Rebecca Weir, creative director of Light IQ, and James Siddle, technical lighting designer of Ideaworks. The events will again be held at ACDC’s Lighting Studio in north London. www.theilp.org.uk/brilliant

Projections are a girl’s best friend It looks as if it might be a bit of a faff compared to just bunging on a conventional necklace, but jewellery made from light would certainly be a conversation piece. A smart phone is connected, via a high-definition multimedia interface (HDMI) cable, to a ‘picoprojector’ – a type of small handheld projector – attached to the wearer’s chest, which shines the light on to their neck.

The concept was created by a group of designers called Pangenerator (Piotr Barszczewski, Krzysztof Cybulski, Krzysztof Golinski and Jakub Kozniewski). ‘If we’re having less and less in terms of physical goods, for example, music streaming instead of CDs and e-books instead of paper copies, the same logic might be applied to other areas like jewellery,’ the designers told design website Dezeen.

There are four decorative options, each created in response to different body movements, measured by the phone’s inbuilt features and gyroscope.

The Airo pattern reacts to walking speed, using a pedometer, while Movi is prompted by the accelerometer. Roto is created by the rotation of the wearer’s body, using the phone’s compass, and Sono reacts to ambient sound through the microphone.

‘Given the rate of miniaturisation of picoprojector technology and the trend for wearable technology being treated more as jewellery and fashion accessories rather than just gadgets, we predict that wearable projection and projection-based jewellery will become a reality in a few years,’ says the Pangenerator team.

Certainly cheaper on the insurance than diamonds.

Lighting Journal January 2015

Holophane’s V-Max luminaire has won two recent awards. It was given Product of the Year at the HEA-HEMSA Awards and the Outdoor Product of the Year award at the Light Middle East Awards 2014 held in Dubai. The modular design has been developed to create a fully scalable, maintainable and upgradable luminaire for a wide range of street lighting applications. Individual IP66-rated LED Chevrons can be added to the IP66-rated gear chamber to suit the desired application, with lumen packages ranging from 2000lm-29,000lm.

Street lighting and electrical accessories specialist TOFCO CPP has appointed Paul Scanlan as regional sales and project manager for the Midlands, north-west and north-east of England.

Signature has launched a new corporate video to provide customers with an insight into the company’s manufacturing facilities across the UK. ‘Many people aren’t fully aware of the extraordinary diversity and capability of our three divisions: Signature Traffic, Signature Post + Column and Signature DeeOrgan,’ said managing director Robin Land. www.signatureltd.com/themovie Commercial Lighting Systems has appointed Colin Pearce area sales manager for the northwest. With more than 26 years’ experience in lighting, the past 10 years with Philips, Pearce will be responsible for the specification of the Meyer range of architectural exterior lighting products, as well as Ares and the company’s own Sovereign brand, designed and manufactured in Southampton.

Douglas Brennan has rejoined DPA Lighting Consultants as director of the Dubai studio. Brennan has had a long association with DPA directors Nick Hoggett and Barry Hannaford and led the practice’s Edinburgh studio before setting up his own consultancy in Singapore.

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8 Opinion

LIGHT

Share your experiences, opinions and thoughts

Kevan Shaw, design director of KSLD, on complexity and confusion

A

few years ago all we needed to produce light from electricity was a few wires including one that got (intentionally) very hot. From there we moved to passing electricity through a gas with the help of a wirewound ballast and a little thermal switch. In short order we have seen electronics overwhelm lighting. Starting with high-frequency ballasts for fluorescents and metal halide gear. Over the past decade or so we have seen them extend to being the very source of light.

They have also overwhelmed every other part of our lives. We are all surrounded by very sophisticated electronics: phones, computers and televisions being very obvious, the insidious invasion of very complex electronics and computers into other areas of life sometimes less so. Cars are a good example. It used to be that cars ended up in scrapyards when rust had eaten holes in important parts. These days most cars in scrapyards are not very rusty at all.

They are there because one of their several computers has died and there is either no replacement available or is so expensive as to cost more than the value of the car.

We are persuaded that wonderful new electronic light sources will last for an extraordinary length of time compared to ‘conventional’ light sources. Well, this may be the case, but how about the complex electronics in the systems required to make them work? Add to that the lighting control system. It is already difficult to get continuing maintenance on lighting control systems more than 10 years old and, given that the LED components should, on the basis of projected life, be running for 15 or 20 years if not more, this is bound to lead to problems.

When we get a few years into the life of an LED installation we are going to have

Lighting Journal January 2015

difficulties maintaining the consistency of a lighting scheme with different LED products and incompatible control gear being all that is available for maintenance.

As we are now, lighting systems based on ‘old technology’ can expect a working life of at least 20 if not 30 or more years.

This does require maintenance, much of which has been down to lamp changing with the associated cleaning. What is the maintenance regime for new technology?

Many of the cost-benefit arguments for LED replacement schemes seem to rely on a lack of maintenance to make the case for the capital expenditure add up.

The industry buzzword last year was ‘intelligent’ lighting. We have seen many new lighting products that do some pretty cute things – the idea that lights will speak to each other and to the big wide world of the internet, of lights talking to our laptops and cellphones, or LED devices that have their own built-in sensors. This added complexity will have a cost. Our old-fashioned light bulb had a single point of failure, the filament.

Our increasingly complex lighting now has thousands or even tens of thousands of potential failure points – each junction in each circuit on each chip.

Now there is a sound methodology for predicting failure in such complex situations. This has been vital in designing and developing, for instance, spacecraft sent out to complete lengthy missions such as the recent Rosetta spacecraft and Philae lander, launched in 1994 to fulfil its objective in 2014, or even more mundanely, the electronics in aircraft responsible for the safety of millions of passengers every year. The calculations result in a number that represents the Mean Time Between Failures (MTBF). Specifying appropriate components with appropriate reliability results in predictable life.

Sadly the lighting industry seems to be far more concerned with low prime cost and promises of long life than calculating and publishing the real MTBF of the increasingly complex products offered. This is really becoming an important question to ask. We

also need to learn how to multiply MTBFs of different elements of a system to understand the likely life of our lighting schemes. If we do not get the lighting industry to start doing this are we at risk of ending up with lighting going the same way as the car, where life of the system will be limited to that of the weakest, most failure-prone part, because thereafter it becomes unrepairable?

This prospect becomes even more real when one considers the effective life of our other electronics. Our mobile phones do stop working after five or six years even if the battery still functions. Computers are the same, hard drives three years, the list goes on. We even see products that have life deliberately limited such as inkjet printers where software deliberately stops functioning after a certain number of cycles.

In lighting we were used to lamp life and the necessity of dealing with the consequences of this. We have become somewhat fixated with using the same expectation when dealing with LED systems and have been oblivious to the complexities of systems we are now specifying and the consequences of this.

Currently the lighting industry is definitely struggling with the change in revenue pattern, and the temptation to limit the system life of LED lighting must be pretty big. The payday for such a strategy could be huge as we are no longer talking about the price of a few lamps but the cost of a whole new lighting system.

We really need to think about where we are going with lighting. Complexity may provide some interesting opportunities, however they must be carefully balanced with a consideration of how they will affect system life. Colin Chapman, one of the most successful Formula 1 racing car designers ever, had a mantra for his work – ‘add lightness’. Maybe we need to adopt one for lighting design – ‘add simplicity’.

Let us know your views – write a letter or suggest a topic for an opinion piece. Email the editor at jillentwistle@yahoo.com

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10 Entertainment Urban lighting lighting

All the world’s a stage Francis Pearce looks at the role of entertainment lighting techniques and technology in the urban environment

Probably the first example of coloured lighting on a historic monument, in 2000, the sculpture on top of Wellington Arch on Hyde Park Corner: ‘English Heritage was very cautious about moving into too much theatre and use of colour when it came to monuments’s’

Lighting Journal January 2015

Entertainment Urban lighting 11

U

rban lighting schemes would seem a world apart from the ephemeral milieu of the theatre or the rock venue but luminaires originally intended for stage or studio lighting – LED colourchanging linear fittings, spotlighting, floodlights, gobo projectors – have increasingly migrated to the building facade or public square.

They have become important tools in evoking atmosphere and sense of place, now an established strategy in many public spaces that before would have been lit strictly functionally. Recent schemes for piazzas and pedestrian areas, for example, have been much more about stage setting – gobo-projected broken leaf patterns, dramatic uplighting of foliage, the bold contrasts provided by underseat lighting.‘All our lighting has its foundation in the theatre – rather, the entertainment industry,’ says Rob Honeywill, managing director of Maurice Brill Lighting Design. ‘But it is the design narrative and brief, the story foundation that dictates the level of theatre brought to urban lighting schemes.’

MBLD memorably followed the dictates of the narrative back in 2000 when it was responsible for the first example of coloured lighting on a historic monument: the sculpture on top of Wellington Arch on Hyde Park Corner in London. The Angel of Peace Descends upon the Chariot of War, as it is otherwise known, depicts magnanimity in victory as an angel carrying a laurel and an olive branch.

The angel was lit in cool blues; and the chariot as if there were fire somewhere

below, both using discharge lamps with colour filters, while the charioteer was picked out in stark white. In those pre-LED days, the arch was washed with buried metal halide sources and fluorescent lighting lit the underside of the plinth supporting the statue.

‘English Heritage was very cautious about moving into too much theatre and use of colour when it came to monuments,’ says Honeywill.

‘But the colour underscored the peace narrative of the sculpture, and underpinning the narrative is an important aspect of what we do as lighting designers.’

Coloured lighting is perhaps the most overt theatrical technique. As both theatrical and urban lighting technologies have moved on, notably with the development of LED luminaires and colour-changing LEDs, its use has become dramatically more prevalent, with a familiar ongoing debate about coloured-light pollution. However, where it has been used more successfully and less controversially is in regenerative schemes for old industrial structures.

Two schemes, both awardwinning, by Stainton Lighting Design, are classic examples of sources for courses. White light was the only option for the architecturally intricate and historic exterior of Durham Cathedral – anything else would have been a disservice to the building.

However, the Toffee Factory, an old industrial building converted to a creative space in Newcastle, was an ideal candidate for a colour scheme on a number of levels. But still not an excuse to let rip with a rainbow palette.

‘The introduction of good quality LED colour-changing and DMX protocols that work has opened up the possibility of theatrical lighting approaches to public spaces because it is no longer a maintenance issue or an inefficient approach to lighting design’ There are four colours which change on a 17-day cycle so that the effect appears to be random. Four arches and the landmark chimney are lit with Philips ColorGraze and ColorReach linear LED floodlights, controlled by a Philips PowerCore control system.

‘The Toffee Factory was intended to attract creative companies as tenants but its chimney is also very visible from a lot of the city and it acts as gateway,’ says Anthony Smith of SLD. ‘After discussions with the architect, the colour scheme chosen

A derelict industrial building converted to a creative space, the Toffee Factory was an ideal candidate for carefully considered colour in its award-winning scheme: ‘We didn’t want it to be Blackpool and changing colour every five minutes’

Lighting Journal January 2015

12 Entertainment lighting

Michael Grubb Studio’s scheme for Pier Approach, Bournemouth, planned for March 2015 uses gobo projections on to the pavement, helping to bring drama to a public space

for the arches matches the daytime colour of the building with panels of colour. We had a lot of static white LED light on the building so that allowed us to introduce colour on the arches and chimney.

‘We didn’t want it to be Blackpool and changing colour every five minutes,’ continues Smith. ‘It has the vibrant impact we wanted but also gives a clean professional scheme, which is why we kept the building to different colour temperatures of white depending on the surface we were lighting.’

The feedback, he says, is that the colour was appropriate and has encouraged firms to come into the building. ‘If the use and the siting had been different we might have done something else.’

The improvements and developments in technology, both in terms of fixture reliability and control, have driven the proliferation of more visually exciting schemes.

This in turn has encouraged entertainment manufacturers into the architectural field. Today, says Roger Beckett of Light Projects, ‘the longevity of products is proven, the experience of programming is better and there are more manufacturers

Lighting Journal January 2015

producing entertainment lighting in the urban environment, including the use of theatrical luminaires, controls and techniques that are architecturally pleasing.’

Honeywill agees. ‘Theatrical lighting drives the trend to higher output, lower wattage, more efficiency and a lot more variation. Luminaire efficiency and output are growing, while the housings are shrinking, which means that we can be more discreet about placing spotlights on buildings and we can fix on the detail more readily.’

Some fairly straightforward stage lighting techniques have also translated into architectural lighting.

‘We have products that can light a clock face at 1000m,’ says Beckett.

Fittings can act like stage follow spots, ‘bringing out, theatrically, points of interest and attraction from the dark landscape or cityscape,’ while also avoiding the need for gantries or brackets on the building.

Manufacturers such as Martin Professional and Pulsar, whose roots are both deeply in the entertainment arena, have also built healthy sales of permanent, outdoor lighting, while control company Pharos boldly states on its website that the ‘bridge between

architectural and entertainment lighting, which increasingly utilises LED and video technology, has created a new market that is growing rapidly’. The entertainmentrooted DMX control protocol has also spread like a rash over architectural schemes.

‘Martin lighting is all “performance” but we are using it more and more,’ says Michael Grubb of Michael Grubb Studio. ‘And we often use a more theatrical approach to structures such as water features or hard landscaping.

Theatre relies on dimming, which used to be with tungsten sources and mains dimming. That was the one lamp you could never get anyone in the public realm to adopt. But the introduction of good quality LED colour-changing and DMX protocols that work, has opened up the possibility of theatrical lighting approaches to public spaces because it is no longer a maintenance issue or an inefficient approach to lighting design.’

Edward Quackett of Pulsar says that luminaires such as its Chromabank colour-changing linear LED and the Chromaflood used for facade lighting were clearly developed for ‘film, TV and theatre but have traction with architectural lighting

Entertainment lighting 13 designers’. He explains that, ‘because we started in entertainment we know the true value of having great dimming and we invented something called Inter-Bit Smoothing which smoothes the transition from off to on. You don’t notice this from the front-end when you are using DMX, but not having that jerkiness or flicker at the start makes all the difference to the audience or the designer.’

However, it’s not all plain sailing on the control front, says Kevan Shaw of KSLD, whose early career included lighting rock concerts. ‘The selection of a protocol is down to the particular fitting and what it will “listen” to,’ he points out. ‘We are working on a project with DMX and Dali together to get total control, but the annoying thing is that we have to have twice

the wiring – which will give the contractors a headache.’

The DMX512 (digital multiplex with 512 pieces of information) standard was introduced in 1986 as a way to control dimmers for stage lighting and special effects devices, while the relatively low-tech Dali was developed specifically for commercial lighting in the 1990s and released in 2001.

Shaw thinks it is time for a new standard. ‘There is no protocol that is up to date and works with the speed of computing and networks that exist today,’ he says. ‘We would like not to be using Dali and DMX but we are at the behest of lighting manufacturers to come up with a solution that is generic so that lots of people can adopt it.’

Regardless of how it is controlled, though, the use of colour in urban

lighting schemes will remain the most overt legacy of theatrical influence.

‘There will always be a future in LED colour-change lighting,’ says Quackett.

‘You can’t always just say everything has to be white. It’s similar to colour and black and white photography: each has a place and one is not a replacement for the other. It depends on the mood, impact and feel that you want your lighting to have.’

It’s about appropriateness, Grubb agrees. ‘There was an anti-colour backlash but now when we look at a public project we come up with the best narrative for that space and if it involves colour we are not embarrassed to use it,’ he says. ‘But only if there is a good reason.’

Which a theatre lighting designer would undoubtedly agree with.

Industrial structures lend themselves well to the theatrical treatment: in July 2014, Ingo Maurer and CE+T Technics lit a pair of landmark blast furnaces in Luxembourg using Pulsar’s ChromaPowerLine 50, other highpower LED fixtures and HMI white lighting. The urban regeneration scheme to create a science and culture centre in the country’s steel capital, Esch-sur-Alzette, also uses a 7kW searchlight for special events. CE+T Technics specified 162 standard ChromaPowerLine 50 units, with an additional 35 customised red LEDs.

Lighting Journal January 2015

14 Entertainment lighting Even the professions are adopting new roles in some cases: stage lighting specialist NES was commissioned to light the building and environs of Korean TV network broadcaster MBC at the new Digital Media City in the Sangam district of Seoul. The US$175,000 project uses eight GLP impression Spot Ones by German Light Products to light the building. Throwing their high-output beams over a distance of 20m-30m, they are mounted in locally sourced domes (below) to protect them from the extreme weather conditions.

The fittings have an even beam for RGB colour mixing – with eight or 16-bit control over each colour – and a focusable area for gobo projections. In addition to the variable speed gobo wheels (and animation wheel) the graphics engine features a high-speed variable iris and variable speed, bidirectional rotating prism.

‘It was because of the powerful LED output and 16 rotating gobos [via two gobo wheels] that we suggested the GLP impressions,’ said NES project manager Jeonghyun Nam. The water and dust-proof protective lighting domes are suspended from a customised street lamp support. Luminaires are controlled and focused via the lighting console through a wireless transceiver. They are switched on and off automatically between the hours of 8pm-10pm.

Lighting Journal January 2015

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16 Awards Awardss

drama

From square measures to high-level cycling, Jill Entwistle looks at the winners of the 12th city.people.light awards Leipzig, Germany: Richard-Wagner-Platz he former East German city of Leipzig, ranked the country’s most livable city by market research company GfK, won this year’s award for its regeneration of Richard-Wagner-Platz.

The site of a 10th-century market settlement from which the city developed, the square is steeped in political and architectural history.

The lighting concept was developed

by Licht Kunst Licht and involved the traffic lighting system of the nearby streets, the actual plaza, including skatepark and fountains, and the private facade of the Höfe am Brühl shopping centre.

The aim was to keep the space as open as possible with minimal or no

FIRST PRIZE

T

Lighting Journal January 2015

use of pole-top fittings so that cyclist and pedestrian pathways could be kept clear and the square used for markets and events. Illuminance had to be between eight and 18 lux. Warm white LEDs are used for the buildings, sculptural fountains and a skate park.

The plaza and walkways around the entire section of Höfe am Brühl are lit by simple pillar luminaires.

These provide general lighting for the pedestrian walkways but also have additional modules to illuminate exterior facades from the public space.

Pillar luminaires were also used for the skatepark and parts of the open plaza. The overhead lighting of the projecting entrance of the shopping centre illuminates the public space directly in front, which meant pole-top luminaires that would have

cluttered the facade could be avoided.

The existing historic light columns ranged along the classic facade of the Grosser Blumberg building were preserved and the sources updated with LED modules.

The development of the concept was unusually democratic. ‘We wanted to pay homage to the historical roots of Leipzig, which is why we launched a public competition to redesign the lighting through a democratic decision process,’ said Rainer Barth, representative of the city. ‘The project is an excellent example of how to involve citizens and other stakeholders in the preparation of an urban regeneration project.’

It was one of the elements that made the scheme stand out, said Vojislav Radovic, Philips outdoor

Awards 17 for crowd-sourcing ideas from citizens, and delivering city beautification and safety, but also for negotiating the

delicate balance of commemorating a complex heritage with cutting edge lighting technology.’

Copenhagen, Denmark: Cycle Snake bridge esigned exclusively for cyclists by architect Dissing and Weitling, the Bicycle Snake is a 200m sculptural bridge that winds round the harbour, linking the highway and harbour bridge.

The two-way orange track sits high above sea level (it rises by 5.5m), separating cyclists from pedestrians and sheltering the quayside below.

At night, the bridge becomes a glowing element, softly lit solely using the built-in LED handrail lighting.

The jury was impressed by the limited lighting used for both functional purposes and aesthetic effect, causing no additional energy consumption for the latter, and no glare.

D

Lighting Journal January 2015

SECOND PRIZE

lighting manager for the southern area of Central and Eastern Europe. ‘The Leipzig project was not only innovative

THIRD PRIZE

18 Awards Third prize Strasbourg, France: Place du Château nother iconic square, the Place du Château adjoins the city’s Notre Dame Cathedral and is part of the Grande-Île, a Unesco World Heritage site, which also features a series of museums. A primary aim of the lighting was to achieve a cohesive effect between the historical buildings and the contemporary square. The highly integrated scheme was created

by L’Acte Lumiere in conjunction with the city’s public lighting department over a six-year period.

White light is used in various degrees of intensity to emphasise the

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different architectural styles of the buildings and rich variety of stonework, as well as creating dramatic areas of

shadow and contrasting light effects.

The square is lit by four large bespoke masts, with a hexagonal, transparent design inspired by the stairways running up the sides of the cathedral steeple. The floodlights are incorporated within this stylised structure. The light they project on to the ground features subtle graphic elements designed to reflect the contrasting patterns used in highlighting the facades.

The vertical lighting around the square reflects off the light-coloured ground surface. This allowed the general lighting levels to be reduced, and also produced large areas of attractive shadowing.

A double row of recessed floodlights provide subtle lighting for the lower part of the building facades.

The light intensity gradually changes upwards, with additional lighting to avoid large-scale shadowing, especially on the cornices.

The jury was impressed by the incorporation of light on both vertical and horizontal surfaces, a challenge ‘which was executed in a unique, sophisticated and outstanding way’.

Again the extent of public consultation impressed the judges.

A rigorous year-long preparation process involving citizens included conferences, guided tours, workshops and questionnaires which, said the judges, ‘added to the credibility of the final result’.

SPECIAL MENTIONS People’s choice Ankara, Turkey: lighting masterplan for 21 city structures and infrastructure Designed to bring harmony to a series of prominent city structures, the lighting masterplan involves both white light schemes and, where appropriate, colour.

‘The scheme has had a positive impact on residents and visitors, creating attractive areas that are safe and secure with modern silhouettes that enhance the city’s identity,’ said the judges.

Lighting Journal January 2015

Awards 19 Wellington, New Zealand: Opera House Lane interactive street scheme An interactive lighting scheme by architecture and engineering practice Stephenson and Turner has been installed in a previously dark narrow street with the aim of reducing crime, and making it safer and more attractive for pedestrians. Presence detectors trigger playful lighting schemes with animated patterns and muted colours designed to entertain and bring the space to life. A key feature is a chandelier constructed from Kaynemaile, a lightweight chainmail created for The Lord of the Rings films. ‘The gem is a large chandelier hanging above the lane with projected light effects that create a dreamlike appearance,’ said the judges.

Pula, Croatia: Illumination of living cranes At Uljanik, one of the oldest working shipyards in the world, eight massive cranes have been illuminated, reinforcing the city’s industrial heritage. The colour-change LED fittings have been programmed for 16,000 different variations in colour and intensity. ‘The large-scale light feature adds a vertical axis to the luminous sea horizon, creating a dynamic sculpture in the nightscape,’ said the judges. ‘A distinguished symbol that has revitalised the city’s seafront.’

The city.people.lights awards are given to urban lighting projects that creatively use sustainable lighting as part of city redevelopment initiatives to benefit both inhabitants and visitors. They are organised by Philips and the Lighting Urban Community International Association (LUCI) and were held in in Dubrovnik, Croatia, last November. For more details, go to www.lighting.philips.com/main/citypeoplelight/award.wpd

Lighting Journal January 2015

20 Light measurement

Extraordinary measures

Just any old light meter won’t do when it comes to LEDs. Ivan Perre explains why

L

ondon Underground, like much of the UK, is embracing LED lighting. Its low energy consumption and, more significantly, reduced maintenance means that there is a real push to see LEDs installed in more and more places. They can also make a great difference to light quality, especially when replacing high-pressure sodium lamps, when the colour rendering improvements make the surrounding area look crisp and bright.

So what’s the problem? When it’s time to validate the design and measure the illuminance, three different lux meters can give you three different results. This is disconcerting, and in our case London Underground has a duty to provide safe levels of light for customers and staff, and our only metric for doing this is illuminance. If we do not have confidence in our lux meters, how can we have confidence in our duty of care?

This issue is not going to go away; in fact it is only going to become worse. So I decided to address the problem head on and find out how the rest of the lighting industry did it.

What I found out didn’t fill me with confidence.

LED Retrofit

LED Floodlight

600x600 LED Fitting

LED Pelmet Light

Fig 1 Baker Street Underground Station platforms five and six

Common options A commonly suggested idea was to calibrate the lux meter to suit the fitting. This involves taking your lux meter along with a sample fitting to a test house to get it calibrated to that light source. It is simple enough but doing this can lead to weeks being lost on a project. Calibration in advance of project completion could be an acceptable option if there is only one fitting being used in an installation, but what if there is more than one type of luminaire? This is exactly what happened at Baker Street Station (Fig 1) where four types of LEDs were used on the same platform. This suggestion would not work.

Another option was to apply a colour correction factor (CCF) to the readings. For example, if our meter gave a reading of 100 lux and we applied a CCF of 1.2, we would have the ‘real’ value of illuminance. The problem with this

Lighting Journal January 2015

is that the lighting manufacturer would have to provide this information for that particular lux meter, and it is unlikely that a manufacturer would have this CCF value for all sorts of lux meters for all the luminaires that it stocked. But even if it did, it still assumes that your installation only uses one type of luminaire. It fails the Baker Street test again.

The SP ratio was suggested as a way to overcome this issue, much in the same way as the CCF was used. One LED Spectral Power Distribution

400

450

500

550 600 wavelength (mm)

650

700

Fig 2 Example of an LED spectral power distribution

vendor suggested that I just ‘multiply the lux value by 1.6’.

Of course this was not correct. The SP ratio is a property of the light source that gives an indication of how our eyes perceive the source in bright and dark scenarios. In other words, as the property of the light source not the lux meter, it doesn’t really make any sense to apply the same factor to a really good meter and a really bad meter.

An alternative was not to place so much emphasis on the lux meter value. There is no better judge of an installation than your eye. If it looks bright enough then it is bright enough, and if it is 10 lux under the required 150 lux, who could honestly tell the difference? Well, there are two problems with that. My eye may see differently to your eye, or someone else’s. The other issue is that London Underground still has a responsibility to demonstrate we have enough light on a station and that requires a quantifiable value to measure against.

So the final option left to us was to get an illuminance spectrometer, which will accurately measure the illuminance no matter the light source. It also gives other important information such as colour temperature, colour rendering and the spectral power distribution.

However, the large upfront cost meant that this would not be an option for everyone. What we really needed to know was, can we measure LED light with a lux meter and, if so, how can we tell which ones do?

How lux meters work A lux meter is designed to quantify the amount of light a human eye sees. To be more precise, it is modelled from how the cones in our retina see light (Fig 4). This curve can be called many things, including the luminosity, v-lambda,

Light measurement 21

Light Source

Optical Filter

Phone Diode Spectral

Spectral Correction Factor

Lux Reading

Fig 3 How lux meters detect light

Lux

Error

Actual

252

-

Lux Meter A

250

1%

Lux Meter B

257

2%

Lux Meter C

205

21%

Lux Meter D

228

10%

Lux Meter

Fig 4 How cones detect light

photopic or CIE1931 curve. Essentially it shows how efficiently light is detected. For example, 1W of red light is detected as 73lm and the same amount of green light is detected at 485lm. We can see green much easier than red.

There is more electromagnetic radiation out there than our eye can see, so the lux meter needs to filter out light, just like a pair of sunglasses filtering out UV rays. The better the optical filter, the better the approximation of the human eye. The filtered light then hits a photo diode, which converts this into an electrical signal. A spectral correction factor is

Fig 7 LED light measured by a range of lux meters

Lux Meter

Lux

Error

Actual

360

Lux Meter A

0%

359

Lux Meter B

0%

359

Lux Meter C

0%

363

Lux Meter D

1%

360

0%

Fig 8 Incandescent light measured by a range of lux meters

applied, calibrating the lux meter to a specific type of light, normally incandescent. It’s this spectral correction factor that gets tweaked if the lux meter is sent to a test house.

The better the optical filter, the less important this spectral correction factor becomes.

The results are much more accurate with incandescent sources because the lux meters are calibrated to them.

Which begs the question, why can’t you calibrate the lux meter to a standard LED light?

Fig 5 Poorly performing lux meter

Fig 6 Well performing lux meter

LED light is not standard Incandescent light is very consistent no matter what type of bulb is measured. The type of light produced by an LED depends on the type of chip and the amount of phosphor that is used, and this can vary quite a bit between manufacturers. The graphs overleaf (Figs 9 and 10) show just two types of LEDs with very different spectral power distributions. The warm white LED has a significant green/ yellow peak compared to the cool white one. Eight different LEDs will have eight different distributions.

So how do our lux meters perform under these various LEDs? (Fig 11) Lux meter A has a very low and consistent error meaning it does not really matter what type of light source is used. Meter C is very susceptible to changes in the spectral power distribution, so cannot be used on a site where multiple light sources are used, just like Baker Street.

So we can measure LEDs with confidence, we just require a good quality lux meter to do the job.

Lighting Journal January 2015

22 Light measurement

Fig 9 Warm white light

Fig 12 Scotopic versus phototopic

When it is darker, say less than 50 lux, the rods in the retina begin to detect more light. The darker it gets the more light they receive. This is typically not an issue with lighting on London Underground, but in cases such as LED street lighting, a lux meter that will normally read LED light accurately in bright light will read low. This is why in BS5489, the standard for road lighting, the requirements for average illuminance are reduced when cooler LEDs are used.

So the conclusion is quite simple: lux meters with good optical filters can be used to measure LED light. In fact they can be used to measure any light, with confidence.

Ivan Perre is an electrical engineer with London Underground. This article is based on a presentation he gave at the 2014 Professional Lighting Summit Fig 10 Cool white light

Street lighting However, there is one situation where no matter how good your lux meter is, it will not completely replicate what the eye sees – low-light scenarios, and that’s where I think the confusion lies. There are two types of cells in a human retina that contribute to light detection, cones, which have been mentioned, and rods.

Rods have different characteristics to cones. They are approximately 2.5 times more sensitive than cones and their peak sensitivity is in the blue region of light, which LEDs have a lot of. This can be easily seen when plotting the photopic (cones) curve against the scotopic (rods) curve (Fig 12). Conventional lux meters only take into account cones and ignore the rods.

Fig 11 Error correction of lux meters versus LEDs

Lighting Journal January 2015

How to assess your lux meter • Look at the price. This isn’t true for every meter out there, but generally you get what you pay for. But this doesn’t mean they have to be expensive – there are a lot of decent lux meters out there for around £100.

• Ask for the datasheet and look for the v-lambda curve. You’ll be surprised how many don’t have this information.

• Look at how well your lux meter’s optical filter fits the CIE1931 photopic curve. A close match will indicate it is a good quality lux meter. If the datasheet does not show both curves on the same graph, accurately assessing how well they fit can be difficult.

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24 Awards

COMBINED HONOURS Jill Entwistle looks at three of this year’s Lux Award winners which all not only make extensive use of daylight but blend it seamlessly with the artificial light scheme Award: Industrial and Transport Lighting Project of the Year Heathrow Terminal 2 Lighting design (concept and phase one scheme) and daylight analysis: Hoare Lea Lighting Lighting design (phase two scheme, production and commissioning): StudioFRACTAL

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ossibly as a reaction to the positively claustrophobic aspects of the old Terminal 2, light and airiness were seen as central to the £2.5bn redesign of the space. And essential to that aim is architect LVA’s 54,000sqm undulating roof system which fuses natural and artificial lighting in one element.

With integrated rooflights, RGB LED backlighting and a translucent ceiling membrane, it delineates the key stages of the passenger journey – check-in, security and lounge/ boarding – with an increase in ceiling height at those points compared to the transitional spaces.

‘The aim was to ensure that the terminal looks great under both natural and electric light,’ says Dominic Meyrick, partner of Hoare Lea Lighting, which produced the terminal’s initial lighting designs and was also responsible for the terminal daylight analysis.

The north-facing rooflights not only provide consistent and good quality natural light, but the clerestory design also allows views of the sky.

Controlled by automatic timeclocks and photocells, the RGB LED lighting switches on in response to falling daylight levels, both complementing

Lighting Journal January 2015

and reinforcing the natural light. The colour transitions are slow and subtle, designed to reduce the contrast from the daylight, as well as create a dramatic, but not disturbing feature for the departures level.

‘The linear LED luminaires integrated into the lower lip of the roof section provide backlighting to the edge of the membrane. This both mimics and supplements the daylight, and ensures a harmonious transition between areas of different brightness. The result is an integrated lighting solution, which works intuitively with the architecture, as well as accentuating the form of the ceiling,’ says Meyrick.

StudioFRACTAL assumed the lighting mantle when Hoare Lea’s contract ended. Client-driven modifications involved a measure of replanning and it was essential to retain a cohesive lighting approach across the different elements of the project. It also designed lighting for the car park and the central covered court, a vast expanse featuring the massive Slipstream sculpture by artist Richard Wilson.

Supplementing illumination from the roof system, LED lighting has been incorporated into the balustrade supports to light the sculpture. By varying the optics and concentrating small amounts of light on to the riveted aluminium structure its form and sense of movement are emphasised.

‘By day, the undulating rooflights above bathe the sculpture in strong daylight, conveying speed, strength and solidity,’ says Tim Downey of StudioFRACTAL. ‘As night falls,

the subtly changing roof colours create a really atmospheric setting, lending the sculpture a softer, more graceful appearance.’

Judges’ verdict: ‘A project of awesome scale and precision which achieves the airport’s many objectives and satisfies its many stakeholders’ Client: Heathrow Airport Masterplanning and concept architect: Foster and Partners Concept and lead architect: Luis Vidal and Partners

Awards 25 Award: Education and Healthcare Lighting Project of the Year Reid Building, Glasgow School of Art Lighting design: Arup Architect: Steven Holl Architects

T2 at Heathrow: the complex rooflight fuses natural and artificial light in one element

Photography: James Newton and StudioFRACTAL

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he Reid Building is a new extension of the Glasgow School of Art and is located opposite the famous Mackintosh building.

The extensive use of natural light and a daylightlinked control system has helped the building gain a BREEAM Excellent rating.

Built over two basement storeys and five superstructure levels, it includes a series of doubleheight studios, lecture theatres and workshops.

Arup was responsible both for the artificial lighting scheme and providing technical support for the daylighting design, a particular concern for the studio and workshop spaces where the quality of light is paramount.

Glare and reflection were also issues and Arup carried out studies to assess the environmental impact and the effect of the new glass facade on neighbouring buildings, especially the fine art studios in the Mackintosh building.

The form of the building threw up a few challenges for the artificial lighting design. Ceilings that were both angled and high meant it was more difficult to get an even light distribution and keep the energy count down. This was resolved with a number of bespoke fittings which achieved the correct distribution and output, as well as matching the clean aesthetic.

Judges’ verdict: ‘Rather than just putting lights into a building, this beautiful project showed how you can build a building around light

Reid Building: built around light

Lighting Journal January 2015

26 Awards Award: Office and Workplace Lighting Project of the Year WWF Living Planet Centre, Woking Lighting design: Atelier Ten

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aximising the use of natural light together with an installed lighting load of 5.5W/sqm were significant contributors to the 90.66 per cent BREEAM pass mark which gave the WWF building an Outstanding rating.

The curved timber diagrid roof with embedded skylights is designed to bring in as much daylight as possible, but brought its own challenges for aspects of the artificial lighting at podium level. Pendants clashed architecturally with the clean lines of the ceiling, which restricted the lighting to a limited number of positions within the diagrid itself.

After modelling the space and collaborating closely with the architect, Hopkins, Atelier Ten came up with a recessed downlight solution. Bespoke inclination adapters were developed for the fittings to match the varying angles of the ceiling and ensure seamless integration.

At the time of design LEDs could not provide the necessary punch from

that height so CFLs were used, but the Wila luminaires allow for an upgrade to LEDs. LED uplights are mounted at the springing point of the ceiling to provide a soft wash light to the diagrid at night.

The lower office space had to be flexible to allow for varying work patterns and use. The solution here was a grid of linear suspended fittings that underline the building’s architectural grid. The 28W T5 fittings were produced to a custom length, and give an average illuminance of 300 lux. Each pair of Dali-addressable fittings is controlled by a photocell/ occupancy sensor for daylight and presence control.

There is a high degree of individual control, within BREEAM requirements, with both desk-based task lighting and an app that allows users full control from their PC or laptop.

Judges’ verdict: ‘The commitment to sustainability that lay behind this lighting project should serve as a model for others’ Architect: Hopkins Associates Contractor: Wilmott Dixon Electrical contractor: Des Electrical

WWF Living Planet Centre: the diagrid ceiling maximises daylight and features bespoke integrated downlights

Lighting Journal January 2015

Awards 27

Lux Awards 2014 PRODUCTS Interior Luminaire of the Year Sponsor: Philips OEM Lighting Solutions Winner: Trick – iGuzzini Highly commended: Sequence – Zumtobel Lighting Exterior Luminaire of the Year Sponsor: Elite Renewables Winner: Iridium Gen3 – Philips Lighting

Trick by iGuzzini

Controls Innovation of the Year Sponsor: Lumenpulse AlphaLED Winner: Visible Light Communication – EldoLED Highly commended: LEDstat dimmer – Hamilton Litestat Light Source Innovation of the Year Sponsor: Anolis Winner: CoeLux – CoeLux Highly commended: CrispWhite Fortimo LED spotlight module – Philips OEM Lighting Solutions

Iridium Gen 3 from Philips

Projects and Other Awards Retail Lighting Project of the Year Sponsor: Compact and Challenger Winner: Sainsbury’s, nationwide Highly commended: Sky, Westfield – David Atkinson Lighting Design Outdoor Lighting Project of the Year Sponsor: Osram Winner: Debenhams, Oxford Street (below) – Light + Design Associates Highly commended: Jubilee Buildings, Isle of Man – Professional Lighting Design

Hospitality and Leisure Lighting Project of the Year Sponsor: Aurora Winner: Eventim Apollo, London – James Morse Lighting Design Highly commended: SSE Hydro, Glasgow – Arup

International Lighting Project of the Year Sponsor: Havells Sylvania Winner: Growthpoint Properties, South Africa – Aurora Highly commended: Zorlu Center, Turkey – ZKLD Light Design Studio

Industrial and Transport Lighting Project of the Year Sponsor: Amerlux Winner: Heathrow Terminal 2 StudioFRACTAL and Hoare Lea

Recycling Award Sponsor: Recolight and Lumicom Winner: Re:LIT Project – Michael Grubb Studio Highly commended: Sainsbury’s

Education and Healthcare Lighting Project of the Year Sponsor: PhotonStar Winner: Reid Building, Glasgow School of Art – Arup Highly commended: London Library – Arup

Manufacturer of the Year Sponsor: Arrow Electronics Winner: Dextra Group

Office and Workplace Lighting Project of the Year Sponsor: Luxonic Winner: WWF Living Planet Centre, Woking – Atelier Ten Highly commended: PwC Embankment Place, London – Chapman BDSP

Client of the Year Sponsor: Dextra Group Winner: Sainsbury’s Highly commended: Heathrow Airport (nominated by StudioFRACTAL) Lux Person of the Year Sponsor: Samsung Tony Howells, senior policy advisor, Department for Business, Innovation and Skills

Lighting Journal January 2015

28 Asset management

Safe and sound?

In the first of a two-part feature Mark Tidswell looks at condition reporting to BS7671 and discusses the testing element

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lthough there are local authorities who have, over the past decade or so, managed to invest heavily through PFI to replace their stock and reduce the risks associated with it (principally from structural failure), there are still others that have a significant amount of ageing assets that need ongoing maintenance.

These assets, which will have been installed according to regulations and working practices that have since been substantially overhauled and improved, still have to be maintained and remain safe for continued service.

This article aims to elaborate on the requirements of condition reporting to BS7671 (or period inspection and testing). It will also examine in detail the need for visual inspection to BS7671 as, since the launch of Amendment Number 1 in 2011, this has been substantially overhauled in the regulations and its intentions are no longer as clear as they were previously.

It will also draw on two separate, best-practice documents: (briefly) the Model of Contract Documents for Highway Works and Well Lit Highways.

BS7671 is for anyone managing, designing, maintaining or working on electrical equipment, and the standard by which everyone should comply. It is not a statutory document, it is a British Standard, therefore in general terms a recommendation.

However, both BS7671 and the Electricity at Work Regulations reference each other and, within BS7671, is a note by the HSE stating: ‘...installations which conform to the standards laid down in BS7671: 2008 are regarded by HSE as likely to achieve conformity with the relevant parts of the Electricity at Work Regulations 1989...’

It is BS7671 which prescribes the use of condition reporting as a means of assessing ‘whether the installation is in a satisfactory condition for continued service’ (Regulation 621.1).

So by carrying out the prescribed

Lighting Journal January 2015

inspection and testing the local authority can satisfy itself that it will be complying with the relevant sections of Part 4 of Regulation 4 of the Electricity at Work Regulations 1989: • All systems shall at all times be of such construction as to prevent, so far as reasonably practicable, danger.

• As may be necessary to prevent danger, all systems shall be maintained so as to prevent, so far as reasonably practicable, such danger.

• Every work activity, including operation, use and maintenance of a system and work near a system, shall be carried out in such a manner as not to give rise, so far as reasonably practicable, to danger.

• Any equipment provided under these regulations for the purpose of protecting persons at work on or near electrical equipment shall be suitable for the use for which it is provided, be maintained in a condition suitable for that use, and be properly used.

Should an authority decide not to conduct the condition reporting (and usually this is due to monetary constraints), the decision-making process that leads to the cancellation of the inspection and testing must be well documented and based on risk assessments. This risk assessment process will fulfil two basic functions: first, identify where current budgets have to be channelled and, second, identify shortfall in budgets that can be escalated up the

management chain for further consideration and action.

Both these functions would then hopefully demonstrate that the authority’s engineer acted ‘reasonably’ based on his or her budgetary constraints, and hopefully relieve them of the wrath of the Health and Safety Executive. The risk of not conducting condition reporting, and in turn not identifying if an asset or system ‘is in a satisfactory condition for continued service’ (Regulation 621.1 of BS7671) could have profound implications should an incident occur. Trying to answer questions post-event where the appropriate procedure of risk assessment and risk management has not been properly conducted will only result in sleepless nights for the individual responsible.

It is generally accepted that condition reporting is required at sixyearly intervals for stock that isn’t part of an ‘effective management system for preventative maintenance in normal use’ (Regulation 622.2 of BS7671). It must be noted though that routine lamp changing and/ or carrying out reactive fault repairs is not considered as an ‘effective management system’ unless they

include elements of visual inspection and testing to prove a system is safe.

The authority’s engineer may take a view that some assets by way of their age and condition could have the intervals increased. This is also referred to in Guidance Note 3 (GN3) to the regulations, where for highway power supplies the maximum time

between condition reporting is six to eight years (Table 3.2 of GN3). The opposite is also true, should a result be found which could indicate the start of, or the increase of deterioration, then the inspector could advise a reduced term.

Following the condition reporting, Regulation 514.12.1 requires ‘a notice of durable material’ to be fixed at or near the origin of the installation.

However, Regulation 559.10.7.1 states that where the system is part of a programmed inspection and testing

procedure, the label is not required.

Whichever is the case for the authority concerned, it is always best practice to attach this label as then the record will exist within the asset of when and by whom, regardless of what happens to the records thereafter.

There is a plethora of label types and methods of attachment, but personally I prefer to use a synthetic paper called Polyart (similar to Tyvec but smoother and much cheaper) with a brass eyelet at the top for cable tie fixing. It’s water, wind and tear-proof and can be written on with pen, felt pen or pencil. Don’t forget how useful this label can be for other purposes.

For instance, if you are encountering a lot of assets that have insulation colours to two different versions of the regulations (red/black and brown/ blue), it would be a good idea to have this label printed double sided with the dual-colour warning label on the other side, thus also complying with Regulation 514.14.1.

Before allowing any third parties to carry out the authority’s condition reporting, the engineer should thoroughly check that the intended method of recording the data is compliant with the regulations and in a format that he or she can work with.

The best method for recording all the inspection and test information is on a database stored on a tablet that can be used in the field. All test result fields should be limited to numerical entries only, and the visual inspection element should be carried out using tick boxes for as many non-compliances as the authority’s engineer expects to be reported (the reason for reporting noncompliances to current regulations is discussed in detail later).

These results can then be easily interrogated and automatically risk assessed. There should also be room for each inspector to record free text entries to cover any aspect that cannot be entered anywhere else. Particular care should be taken to check that whatever format is used, it is fully compliant with BS7671 and aligns to the sample Certificates and Schedules in Appendix 6 of BS7671.

I find the following aspects regularly missing from third party certificates which, as well as being

Lighting Journal January 2015

Picture courtesy of: The Northern Echo

Asset management 29

30 Asset management required in the sample certificates of BS7671 Appendix 6, can also contribute to the risk assessment process post works: • Estimated age of wiring system • Evidence of additions/alterations and their estimated age • Installation records availability and date of last inspection (another reason why it is always best to fit a durable label as this will serve this element) • Separate data for both the DNO’s fuse and the authority’s protective device BS7671 and the ‘tests’ For condition reporting, BS7671 requires the ‘tests’ as described in Chapter 61 (Regulation 634.1), namely: • Continuity, insulation resistance, IP2X and IP4X of enclosures as appropriate – together defined as the ‘dead tests’.

• Polarity, earth electrode resistance, RCD testing, verification of the effectiveness of the measure for fault protection, earth fault loop impedance, fault current, phase sequencing, voltage (and voltage drop if appropriate), functional testing of all equipment, components and controls – together, comprising the live tests.

Note that not all tests above are required by testing/measurement, some can be determined by calculation. Refer to the sample inspection and test sheets in BS7671 Appendix 6 for further information.

The following is a brief discussion of some of these requirements, and how best to apply the regulations to street lighting installations.

Continuity Continuity tests are required for protective and bonding conductors.

This ensures that all connections are sound and will transmit the necessary current in the event of a fault.

GN3 advises that 0.05 ohms is not exceeded across the connections.

Bearing in mind that assets will commonly have bonding that appears to be undersized when compared to the current regulations, continuity testing is a good method of proving suitability. For instance, provided that the continuity readings throughout the

Lighting Journal January 2015

Ageing assets will have been installed according to regulations and working practices that have since been substantially overhauled and improved bonding system, when added to the incoming impedance and R1, are less than the maximum allowable Zs value, then they will be suitable to convey the fault current in the event of a fault. It is the authority’s engineer who should advise which key points are to be assessed as it would be timeconsuming to check all elements of exposed conductive parts and bonds.

To measure the continuity of the radial circuit to the lantern, the resistance of the live and CPC is measured (R1 + R2 value). This measurement can then be used to ‘determine’ the end of line earth fault loop impedance (Zs) when added to the source impedance (Ze).

However, it may be the preference of the inspector or authority engineer that the value for Zs is ‘measured’ as described later.

Insulation resistance Insulation resistance commonly proves acceptable in the lamp circuits.

However, aged underground networks can be troublesome, especially those that are a jointed system. When carrying out the insulation resistance tests it’s worth bearing in mind that any sensitive control gear should be disconnected from the circuit. In order to save time when testing underground networks, it is entirely acceptable that only the measurement between live conductors (by combining all lives and neutral) and earth is taken. If this proves a sound result, it is usually unnecessary to separate the lives for separate testing.

Minimum values of insulation resistance of 1 megohm (measured at 500V DC) are generally accepted as the minimum required (inferred from the minimum required for initial verification in Regulation 612.5.2 of BS7671).

Keen readers will note that the Model of Contract Documents of

Highways Works requires insulation resistance on new circuits to be at least 6 megohms (Volume 1 Series 1400 Clause 1424). However, this is not important for condition reporting.

IP ratings of apparatus To satisfy the latest regulations, there are various principle issues which should be considered and are generalised as: • All live parts should be inside enclosures that have a degree of protection of at least IP2X (Regulation 416.2) • All horizontal top surfaces of enclosures should be rated to IP4X (Regulation 416.2) • Live parts should be completely covered with insulation (Regulation 416.1) • A door in street furniture should not be used as a barrier or enclosure (Regulation 559.10.3) • A door in street furniture should not be relied on as a means of basic protection (BS 7430: 2011 Paragraph 8.5.1) Earth fault loop impedance and fault current For earth fault loop impedance, at least two results are always required.

For example: • If the asset is a standalone column with a DNO supply, the impedance at the point of the DNO connection is needed to assess the suitability of the supply; a second result is needed to establish the impedance at the furthest point of the circuit, in other words the lantern. Without knowing the impedance at the furthest point, it is impossible to know if the fuse will break in the event of fault conditions.

• If the installation in question contains an authority-owned underground private cable network, then three measurements are preferred: 1. As in the previous example, the impedance at the DNO connection at the source of supply 2. The impedance at the point of connection in each lighting unit 3. The impedance at the lantern These three measurements provide isolated measurements of each element of the system: the supply, the network and the asset. It

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may transpire that to save costs the middle element isn’t required as, if there is an issue with the underground network, this would be highlighted by a high reading at the lantern. This is true, but the cost saving would be negligible. As a footnote to this section, impedance is the result of the AC circuit measurements, whereas resistance is the value of the continuity tests which is measured using DC. As discussed previously, the earth fault loop impedance at the extremity of the circuit (Zs) can be either measured at the furthest point or determined by adding the supply impedance (Ze) to the resistance value (R1 + R2), both methods are recognised by GN3. If measurement of the Zs is the preferred choice,

These functions would demonstrate that the authority’s engineer acted ‘reasonably’ based on his or her budgetary constraints, and hopefully relieve them of the wrath of the Health and Safety Executive GN3 recognises that where an asset cannot be isolated from the supply (the majority of street lights having a permanently live DNO supply), all earth and bonding conductors should be left in place during earth fault loop impedance testing.

When assessing if the impedance is an acceptable value, the engineer or inspector must not forget the direction of Appendix 14 of BS7671, where it states that the impedance result should be less than or equal to 80 per cent of the impedances quoted at Chapter 41. This will roughly take into account the increased resistance that conductors impose on the flow of current during fault conditions.

This is due to the extra heat that the increased (fault) current induces in the conductor during the fault condition.

The prospective fault current (Ipf, which by definition in Part 2 includes both short circuit and earth

Lighting Journal January 2015

fault conditions) is allowed to be measured, determined or calculated

by Regulation 612.11. For the purpose of condition reporting, calculation of values is not advisable as the true site conditions are not reflected.

They should therefore be either measured or determined from other measured values.

The value is needed at each point in the circuit where there is a protective device. The breaking capacity of each protective device needs to be greater than the measured or determined value of the prospective fault current at that point.

Both values, prospective short circuit and earth fault currents, are needed, and the higher value is to be used for the comparison. Table 2.8 of GN3 provides rated short circuit capacities of different protective devices.

Voltage and voltage drop Voltage drop is not an absolute requirement of the procedure. It is described at Regulation 612.14 and there are two ways of obtaining it: first, measurement of the circuit impedance and, second, calculation. For the purpose of condition reporting, the former should be relied on as this will give an accurate result of actual site conditions (the whole point of condition reporting), instead of a theoretical result from carrying out the calculation described in Regulation 612.14 [ii]).

Appendix 4 deals with the limits of voltage drop.

Since the publication of the 17th edition of BS7671: 2008, voltage drop has changed from the longstanding value of four per cent. Now, generally, the voltage drop within an asset from the DNO cut-out or the authority’s isolator to the lantern should be no greater than three per cent. If the asset is supplied via a private cable network, the voltage drop should not be greater than six per cent throughout the system, but the final circuit – the lantern supply cable – should still not exceed three per cent.

Earth electrode resistance BS7671 does not require earth electrodes on highway power supplies.

Nor does it stipulate minimum measured values of resistance (or impedance, depending on how the reading is obtained). Instead, it merely requires the resistance (or impedance) to be measured (Regulation 612.7).

We have to refer to BS7430: 2011 for the requirements of earth electrodes.

This requires (paragraph 8.5.2.3) earth electrodes to be installed where there are privately looped circuits emanating from a TN-C-S system, not a TN-S system. For the TN-C-S systems, where there is circuit feeding one or more items of street furniture, an earth electrode should be installed at the point of supply and at the last or penultimate unit on the circuit.

Measurement is required to ensure that the resistance to earth of the neutral at any point is less than 20 ohms, before any protective or bonding conductors are connected to the combined neutral/earth back at the point of supply.

The point of the earth electrodes in the TN-C-S system is to reduce risk in the event of a failure (or break) in the combined neutral/earth conductor on the supplier’s side of the system.

For example, if there is a break in this conductor, there is a potential that the earth path, and everything connected to it on the consumer’s side, could become live. So the earth electrode provides a path by which the voltage can dissipate to earth with minimal resistance, and hopefully less than that offered by a passing member of public. If it is found that earth electrodes are missing, it is down to the authority’s engineer to assess the risk based on the other factors observed during the condition reporting procedure.

Interpreting the test results Where any of the tests indicate noncompliance to the regulations, these should be assigned the appropriate C1, C2 and C3 classifications. GN3 at Table 3.5 advises how best to classify certain types of noncompliances. This article won’t reproduce those, but instead offer another view, a view which reflects the type of system and the surroundings of street furniture, in other words one that is open and in constant contact with the general public.

Mark Tidswell is an independent street lighting and electrical consultant and is the new YLP Technical representative. In the next issue, he will look at visual inspections, concluding with methods of interpreting and evaluating the results, and provide a table of the fault references referred to above and their corresponding regulatory requirements.

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34 Future concept

Liquid assets

A spray-on glow

Electroluminescent (EL) technology has never quite lived up to its promise though it has found some use in signage and decorative tape. US company Darkside Scientific has literally been a little more fluid in its approach, however, and may have found a way of revolutionising its applications. Its patented LumiLor Electroluminescent Coating System can be sprayed on to any surface then illuminated with simple driver electronics. As a liquid, it can easily be applied to curved surfaces and around corners.

As well as providing the service, Darkside Scientific gives training to individuals and businesses in the LumiLor application process, leading to certification.

The company now has a UK lab, in Windsor. For more details, contact the lab’s managing director, Andrew Love (andy@darksidescientific.co.uk). www.lumilor.com

Lighting Journal January 2015

Future concept 35

Sunny side of the street The solar road to power supply Solar panels by the roadside are becoming an increasingly familiar sight, but actually forming the road surface? That is the brainchild of Scott Brusaw, an electrical engineer from Idaho, who has recently raised $2.2m through a crowd-funding campaign to develop the concept. Solar Roadways involves encasing smart solar panels in double-layered, bomb-resistant, bulletproof glass capable of withstanding 114kg.

According to Brusaw, who devised the concept with his wife, it would be able to generate three times the electricity currently used in the US. It would also help prevent accidents by melting snow and ice, alert drivers to debris in the road with solar-powered LED lights and even collect storm water.

Brusaw was predicting a finished product by the end of last year but was planning to try it out in stages this spring: first in a car park, then residential roads, ‘then, eventually, the fast lane of a highway’. The concept has received interest from an Amtrak station and Sandpoint Airport, Idaho.

A former Marine Corps weapons technician, Brusaw says the idea occurred after watching Al Gore’s film An Inconvenient Truth. After a fair degree of apathy from investors, he presented the idea as intelligent infrastructure which proved a more attractive proposition.

In 2009, he landed $750,000 from the Federal Highway Administration (FHWA) to develop the prototype. www.solarroadways.com/intro.shtml

Lighting Journal January 2015

36

Conference

PIP forum

Sustainable case The latest PIP Forum looked at sustainability – what does it actually mean and how do you achieve it?

The key aims of the forum on sustainability were first to define what was meant by the term, and to determine what the industry should be doing in terms of promoting sustainable practice.

The ILP is already looking to appoint someone who will take responsibility for this area.

‘In simple terms, the official definition is don’t take everything out now, leave something for the future,’ said John Bullock.

‘We’re living on a ball of rock with very little left in it. As technology develops, the more esoteric are the materials we’re extracting.

‘Where sustainability in lighting is concerned climate change is only one part of the picture,’ he continued.

‘Industrial processes and disposal are one aspect, but so is the use of materials – we’re reaching the point where we could run out of

Alasdair McRury

Lighting Journal July/August 2013 Lighting Journal January 2015

Katie Livesey, John Bullock and Nigel Harvey

water, copper and so on. It’s also about how we future proof design for the next 10, 20, 100 years so we don’t have to keep redoing things.

Even recycling takes energy.’

He gave the example of recycling aluminium, widely used for heatsinks among other components, a process that still uses 15 per cent of the energy of the original mining process.

Nigel Harvey agreed. ‘People are now comfortable with recycling but there are multiple emissions of carbon produced by remanufacturing.’

LED technology has exacerbated the situation, said Bullock. ‘We’ve never had to worry about it before because we’ve always been able to save the fitting and change the source.

Fittings now have nowhere to go.

‘At the moment there are no sustainable fittings out there,’ he added. ‘The closest we get is Part L.’ The throw-away mentality springs from short-term thinking and preoccupation with capital cost, said Mark Cooper. ‘The school of thought in some local authorities is to put up a cheap LED fitting because in

ILP PIP forum

Allan Howard

10 years you can put up another one. They think they’re getting a better deal, but they’re not.’

One of the problems, said Harvey, was that technology was moving at such a pace that ‘we don’t know what the industry will look like in 10 or 20 years’ time’.

That was an issue for manufacturers, agreed Alasdair McRury, which had to plan strategies, including sustainability policy, for a future full of unknowns. ‘Some of the biggest companies are struggling in the LED world. Is LED going to be here in 10 years? Yes, but what other technologies will there be?

We have to balance commercial pressures with sustainability.’

If the reusability of luminaires was to be encouraged, argued Bullock, then standardisation of LED modules was needed to make retrofitting more practical. The problem there, replied McRury, was that the digital world entailed a continuing process of miniaturisation so it was hard to arrive at a standard size.

‘Amazon, Google, Apple are all involved in lighting now,’ he said. ‘Mobile phones are always changing – what’s to say they won’t drive further updates to

lighting. We have to recognise the commercial influences out there.’

But that reasoning can paralyse the industry so it does nothing, said Bullock. ‘Those companies are teaching us different ways to control lighting, not lighting design.’

Allan Howard moved the discussion to assets and procurement.

He said that asset management was the bedrock of sustainability. ‘Lighting is a key component of the smart city, a facilitation tool. Sustainability is a matter of understanding your asset. Green Public Procurement is a good idea in this respect – the designer signs it off knowing the client will get the best out of it.’

Bullock said that reputational management was also an increasingly important issue in sustainability.

‘Big high street companies are worried about their reputations and driving change. BRE and others are trying to create a sustainability code of practice for building services products, covering responsible sourcing and management. Every nut and bolt should comply.’

Mark Johnson pointed out that this was exactly what Skanska already do – sustainable procurement.

McRury said that it was down to educating the people who buy the products. ‘There’s a lot of lies about LEDs, for instance. We need to start with the big institutions who should offer guidance – what sustainability is, why people should buy certain product types.’

However Bullock said that he didn’t accept that ‘the gatekeeper’ is the customer. ‘It should be the producer,’ he argued.

‘But the end user wants cheap,’ said McRury. ‘They don’t care who made it and where it comes from.’

It was about understanding whole-life costing, said Howard.

‘How far back can you track the labelling? This is where the EcoLabel is falling apart. They’ve found with TVs, for example, that you had to discount certain components.’

Key outcomes • The lighting industry would benefit from the introduction of an overarching sustainability badge system • A checklist for clients would be useful, giving them a series of questions they should be asking suppliers • It would be a good move for the ILP to be involved in the LIA Verified Certification Mark, which could evolve into some sort of sustainability badge scheme • The ILP should look into producing a TCO tool to use as a benchmark

37

Jo Harding

That was one of the issues of the early cradle-to cradle initiative, agreed Bullock. ‘You end up with only the box being cradle-tocradle because about 90 per cent of everything else can’t be.’

There was some discussion on government intervention and Ariona Bilo gave the example of certification to control environmental impact.

However, there was agreement this could have a counterproductive effect.

‘When government does legislate in this way you can get dreadful results,’ said Harvey. McRury cited the example of reducing power in vacuum cleaners which only resulted in them taking longer to use, thus defeating the object.

‘I’d rather have companies like Skanska telling its suppliers what it’s doing and then turning to government and saying this is what we want you to support,’ said Bullock.

‘But that comes back to the point that Skanska is prepared to pay for a better quality product,’ said Cooper.

‘Does cheap necessarily mean unsustainable?’ asked Jo Harding.

Howard pointed out that it was also about understanding the application of a product, particularly when it came to retrofitting and not, for example, installing LEDs in inappropriate optics.

The idea of a badge system was discussed to encourage people to buy a better quality, more efficient product rather than predicating everything on price. Nigel Harvey said that it was something that the Lighting Industry Association has looked into.

McRury cited the LIA Laboratories’ Verified Certification Mark, a recently launched scheme that independently

Lighting Journal January 2015

38 ILP PIP forum operates in partnership with the EST which allows the use of the ‘Energy Saving Trust verified’ brandmark on all compliant products.

‘We have to make sure the brand stands for something, like ATOL or ABTA,’ he said. ‘We have to build trust in our industry. If we don’t, we’ll let other products on to the market that might be less safe or last less long.’

However he acknowledged that at this point the scheme does not include sustainability criteria.

Katie Livesey said that BREEAM ratings were driving specifiers to put sustainability high on the agenda.

‘There are BREEAM ratings for both new buildings and refurbishment.

The people going for certification fully understand the goals. It sends Mark Cooper a message down the supply chain.’

The BRE was also promoting other initiatives, she said, such as the GreenBookLive, a responsible sourcing and search engine for certified products. She added that BES6001: 2014 was the only established framework responsible sourcing standard recognised within a number of whole building assessment methods (BREEAM, Ska Rating, CEEQUAL and others).

‘The standard is used by manufacturers based, or sourcing, across EU member states as well as China, India and so on,’ said Livesey. ‘We see its particular use in areas of business where credentials are required to satisfy sustainability objectives of clients in the construction industry.’

Wilbur Tarn Whatever measures were introduced, there was no easy route measures and verifies the safety and to changing attitudes, said Johnson. performance of lighting products, ‘You just have to keep nibbling away lamps, modules and luminaire with every client and every project. fixtures against manufacturers’ It’s education. At the moment lighting performance claims. The scheme doesn’t really have a voice whereas other sectors do.’

Howard said that Participants the educational process also involved the ability Ariona Bilo, iGuzzini to ascertain energy use.

John Bullock, John Bullock Lighting Design ‘Some people don’t have and managing director of GreenSpec Light the foggiest how to calculate Mark Cooper, ILP president energy usage – they just Jo Harding, Harding Consult work on lamp voltage Nigel Harvey, Recolight and not parasitic usage, Allan Howard, WSP UK for instance. Never mind Mark Johnson, Skanska issues like dimming. It’s a big education job.’

Katie Livesey, head of responsible sourcing, Where manufacturing Centre for Sustainable Products, BRE was concerned, Harvey Alasdair McRury, president, LIA said there were analogies Wilbur Tarn, OrangeTek with Fair Trade and that

Lighting Journal January 2015

Ariona Bilo and Mark Johnson

when it came to being prescriptive, ‘you mustn’t set the bar too high and make it impossible. It’s better to do it in steps, chip away.’

However, said Bullock, there were things that could be done straight away in manufacturing. ‘First, sign up to the process, get a star from that. It would give manufacturers a way to gauge their own progress and make changes where they can.’

There has to be ‘some way for the good guys to differentiate themselves,’ said Harvey.

One of the things the industry was missing was a total cost of ownership calculation model, said Cooper, which would encourage the specification of efficient, higher quality products.

‘One of my proposals is that the ILP produces a TCO tool, based on the one already produced by the EC in its Lighting the Cities document.’

Where contractors were concerned, it did come back to long-term thinking, said Johnson. ‘It will help when the days of the fouryear contract are over. If you are in there for 10-12 years you are more likely to think long term. I want to fit something that I don’t have to go back to. That’s beginning to happen.’

The ILP PIP Forum on sustainability took place on 21 October at the Academy of Experts, London WC1

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40 VPs’ column

Essential reading Mark Ridler, VP architectural, on the launch of a new resource

T

owards the end of last year we held the launch of Light List (see News, p4), a new resource available on the website and kindly compiled on behalf of the ILP by Mark Major of Speirs and Major. Mark described the venture this way: ‘The author Haruki Murakami once reflected, “If you only read the books that everyone else is reading, you can only think what everyone else is thinking”. This is a good summary of why we put a Light List together.

‘As a new member of the ILP I felt challenged to contribute something to the organisation: I reflected that one of the questions that I am frequently asked, particularly by students, is to name some really good books on lighting. Those that ask are sometimes seeking greater technical knowledge, but many others are earnestly looking for creative inspiration – the means by which to further embrace the wonders of the medium with which we work every day.

‘In some cases it can be to understand more about the effects of natural light. For others it is about the role of artificial light in our cities and buildings. For many it is to delight in the story of light over the ages – from Al Hazan to Galileo and from Newton to Einstein.

‘It therefore seemed to be a relatively simple but useful exercise to start assembling a list of essential reading with other like-minded members of the ILP. I started with the 30 or so recently joined members, who like myself come from the field of architectural lighting. Others then chipped in. As a result we quickly put together a list of more than 100

Lighting Journal January 2015

publications that might form the core of a really good lighting library.

‘At the same time we know that there are many other titles we have not identified that should be there.

So while I am grateful to the many members of the ILP that I contacted who helped participate in this exercise I would also appeal to others to now help. Hopefully this is just the start.

Anyone in the ILP is most welcome to chip in with their suggestions of new titles. They can be any books you like as long as the focus is around light and light-related matters.

‘In so doing we hope that we can work together to gradually build one of the great sources of reference material within the lighting profession that can not only be an asset today but also beneficial to future generations of lighting engineers and designers.’

In launching this resource we asked Matt Free from United Visual Artists to talk about the inspiration that sits behind his work. It proved a very popular move as we had approaching 50 people come and listen to what was an intellectual and visual treat.

One guest was overheard to say, ‘How do you better that?’

In many ways, the evening seemed to summarise much of what the ILP can offer: an inspirational and educative experience, a social environment to catch up with colleagues, and a useful resource to help us do what we do. It was also gratifying that a number of the audience decided to join the ILP that evening so welcome, among others, to David Atkinson, Paul Traynor and Iain Ruxton.

The other noteworthy event was

the conclusion of the How to be Brilliant series last autumn, organised with ACDC in its Clerkenwell Studio.

This was the inaugural season, and the audience has grown month on month on the strength of some excellent speakers. While primarily aimed at increasing the skills of younger designers, the content has in fact been of a much broader appeal than this and I know I have certainly learned much from attending.

There is insufficient space to list (and thank) all the speakers here (check out www.theilp.org.uk/careers/ how-to-be-brilliant/) but to give you a flavour the topics ranged from a visualisation workshop, daylighting principals, interview techniques, and photometrics. I’m glad to say that we will be running another series of talks in 2015. We are hoping to be ambitious with the speakers and to increase the interactive nature of the workshops. So keep an eye on the website which will be updated once details are confirmed.

Another initiative that proved successful this year and is to be repeated in 2015 is Light School. Run in association with Light Collective at the Surface Design Show this again will be an opportunity to talk about light to our clients (rather than to ourselves). Advocacy is an important part of what a lighting institution should be about and it is in that context that we are excited about engaging with Unesco’s International Year of Light. Many of this year’s events will be conducted under this banner and we hope that increasingly what we do collectively and individually will gain ever greater public and political recognition.

In between me meeting my copy deadline and you reading this, the Lux Awards and the FX Awards will have come and gone. I do know that many of our members have been nominated for these awards and we have strong speaker representation at LuxLive so hopefully congratulations are in order for some of you.

It only leaves me to generally appeal to all those that have an opinion, idea, or project that they wish to share, to please get in touch. With a growing lighting design fraternity, now is the time to share your ideas to help shape what we do for you.

Oh, and of course, to wish you a very Happy New Year. www.mark.ridler@bdp.com

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42 Products

What’s new

Vibia

Cosmos Designed by Lievore Altherr Molina to create different sculptural configurations, the Cosmos collection comes in three sizes (190mm, 270mm and 475mm diameters) and four colours: dark brown, green, matt light grey and white. The diffuser is polycarbonate and sources range from four 3.7W LEDs to two 1W LEDs. www.vibia.com

Soraa

MR16 LED upgrade Soraa has improved the performance of its MR16 GU10 base 230V LED lamp line by 40 per cent with what it claims as the world’s most efficient LED, its third-generation GaN-on-GaN LED. Like the rest of the range it has full visible spectrum light and is designed for retail, museums and hospitality applications, where light quality and smooth dimming are particularly important. Its optical technology allows high-intensity uniform beams, including a 10-degree narrow spot option with a peak intensity of 7300Cd. Other beam widths – 25, 36 and 60-degree versions – have a peak intensity higher than halogen and all other available GU10 LEDs, says the company.

The 10-degree lamps can be used with Soraa’s magnetic accessory Snap System, which allows beam shapes to be altered and colour temperature to be modified. All the lamps also feature the company’s Violet-Emission 3-Phosphor (VP3) LED technology for good rendering of colours and whiteness. www.soraa.com

Advanced LEDs

Clara The Clara street light has evolved from a product family introduced in 2009. The luminaire is available in wattages from 10W-250W with colour temperatures ranging from 3200K-5700W. Efficiency is up to 150lm/W. The lantern has a +/-15-degree incremental tilt function, interchangeable PEC and an innovative system to improve the mechanical fixing between the lantern and column, while retaining the use of two conventional grub screws. www.advanced-leds.com

Lighting Journal January 2015

Products 43

James M Anderson

JMA Skye The JMA Skye is a 31W LED gear tray that fits into existing Thorn Beta 2 55W Sox lanterns for a cost-effective update. The Skye uses two Philips Fortimo LED Line Gen2 LEDs which are powered by a Philips Xitanium driver to produce an output of 4010lm at 450mA (130lm/W). Warranty is 50,000 hours and reality files are available on request. The company also produces LED gear trays for Philips FGS 103, FGS 104 and FGS 105 lanterns. www.jamesmanderson.co.uk

Alternite

Intelligent Module The modules, available in 12/24V and 230V options, are designed to provide a simple method of gaining a power supply from the top of a street lamp column. With a standard NEMA 6 fitting, the modules fit between the column and the existing PECU and can be used for Wi-fi transmitters, CCTV cameras or Christmas lights. Using them in conjunction with an Alternite PECU allows programmable time control over the outlet (real time using a signal from the atomic clock). www.alternite.co.uk

Belux

InLine Using two individual lenses in conjunction (patent pending), InLine allows the light distribution of the fitting to be changed from diffused general light to homogeneous indirect light to direct accent light. A primary lens concentrates the LED light while a secondary lens directs it to the desired surface. There is also a diffuser available, which distributes the light evenly. The luminaires are available in a range of permutations: wall light, ceiling light and pendant, with six different optical systems, six lengths from 280mm to 2.25m, and three different colour temperatures. InLine can also be installed vertically or horizontally. www.belux.com

Lighting Journal January 2015

44 Independent Light on the lighting past:14 design

The modest lighting engineer

Simon Cornwell sifts through fragmentary evidence to discover more about PJ Robinson, the man who pioneered low pressure sodium and installed the UK’s first concrete columns

O

n 22 March 1944, retiring Liverpool lighting engineer PJ Robinson was honoured for his 42 years service to the city.

The event was duly recorded in Public Lighting under the heading, A Well-Known Public Lighting Engineer Retires, but the article neglected to mention any of his unique achievements. His good humour, gentle leadership and expertise in the electrical world were noted; yet his widespread early adoption of lowpressure sodium lighting (SO/H) and the installation of the first concrete columns in the UK were not.

While there is much in the literature about the introduction of mediumpressure mercury lighting (MA), thanks to the marketing machine of GEC, the inception of low-pressure sodium was a much quieter affair. The razzmatazz surrounding the trial Purley Way installation of 1932 was well reported but sodium didn’t enjoy the same initial adoption as mercury.

Annual reports from the Association of Public Lighting Engineers (forerunner of the ILP) for the early 1930s noted how lighting engineers were still largely devoted to gas or incandescent; mercury was starting to creep into inventories as successful trials were replaced by permanent installations, but no-one was trialling sodium.

Such a slow uptake of lowpressure sodium could be explained by the delayed introduction of the SO/H lamp in 1933 and Philips’s absence in UK luminaire manufacturing. Despite the successful introduction of its own European SO-RA unit, the firm remained resolutely focused on lamp manufacture in the UK – and other manufacturers chose initially to support the medium-pressure mercury lamp which was beginning to gather momentum and was being installed in ever larger numbers. Therefore it would have been a brave and farsighted lighting engineer who would have tried out sodium – a relatively untested new lamp with contentious colour and little support from any manufacturer.

Robinson was just such a lighting engineer and took it upon himself to design a luminaire for the lamp in conjunction with Manchester-based

Lighting Journal January 2015

Wardle Engineering. His luminaire was of classic frame construction with Wardle Liverpool unit, fitted with optional shielding, was chosen for the second, permanent Purley Way catenary system in 1936 cast-iron end-caps and canopy. The SO/H lamp was supported horizontally within the cabling and the addition of squat, frame, as it didn’t suffer from the same functional gear boxes bolted to the mounting restrictions that confined column. Yet his belief in low-pressure the mercury lamp. No refractors yet sodium was unfailing and Liverpool existed so Robinson opted for a cut-off became the first city to adopt this distribution, with main beam focusing new lamp for all its major roads.The achieved with two curved mirrors. (His luminaire also became a major seller choice of optical control was probably for Wardle, who fondly recalled it in its also influenced by the trial Purley later advertisements.

Way luminaires or the simpler Philips Robinson was aesthetically SO-RA unit which both had cut-off more careful with his treatment distributions.) of Liverpool’s side roads, but was The first of Robinson’s fittings again radical in his choice, opting to was installed on the streets of use concrete for the new columns, Liverpool in 1934 and is believed not steel or cast-iron. This novel to be the first non-trial installation departure from conventional materials of low-pressure sodium in the UK. was realised by Ware-based In honour of the city, and its lighting Concrete Utilities, which had been engineer, Wardle named the luminaire manufacturing concrete products since the ‘Liverpool’.

1924. Again, Robinson’s modesty Contemporary lighting practice, in meant the exact date and location of part following from work by Waldram the first installation has been lost to in the late 1920s, suggested a time, but early literature by Concrete central mounting position for cut-off Utilities suggests 1931. The resulting luminaires. This led to Robinson’s Liverpool No 1 concrete column was Liverpool units being mounted on installed in large numbers throughout incredibly ungainly columns with the side roads of the city. enormous outreach brackets that Its bulky construction was partly positioned the luminaire over the due to its chunky Art Deco styling centre of the carriageway. This which took many details from poor aesthetic appeal was further elaborate cast iron designs (even exaggerated by external, high-level with the addition of concrete ladder bars) and from the gravity-setting moulds used for its construction. It was most likely designed solely by Charles Marques of Concrete Utilities, a new departure for the firm, and the first of a range of concrete columns which would eventually become the company’s primary product.

Yet Robinson did little to publically announce his achievements and it was left to later lighting engineers and historians to note, unfortunately vaguely, these pioneering lighting schemes. Upon his retirement it was noted that ‘there was much in Liverpool to serve as a reminder to him’. Yet with the benefit of hindsight, it’s more accurate to suggest that many of the future UK lighting schemes would serve as a reminder to him – particularly with the largescale use of concrete columns and low-pressure sodium lighting in the Liverpool No 1 column by Concrete Utilities, immediate post-war decades. pictured in 1980 after around 50 years of service

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

MSc CEng MCIBSE MILP MSLL

Built Environment Consulting Ltd Castle Donington DE74 2UH

Stephen Halliday

Nick Smith

WSP

Nick Smith Associates Limited

EngTech AMILP

Manchester M50 3SP

IEng MILP

Chesterfield, S40 3JR

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

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

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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) 1332 811711 M: 07867 784906 E: carlackers@bec-consulting.co.uk

www.bec-consulting.co.uk

IEng MILP

Peterborough PE1 5XG

www.wspgroup.com

BTech IEng MILP MIET Bristol, BS34 8SQ

www.nicksmithassociates.com

Eng MILP

Stockton on Tees TS23 1PX

www.skanska.co.uk

T: 0117 9062300, M: 07789 501091 E: philip.hawtrey@mouchel.com

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.

www.mouchel.com

Widely experienced professional technical consultancy services in exterior lighting and electrical installations, providing solutions, for environmental assessment, lighting policies, energy procurement and technical support.

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

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

MA BEng(Hons) CEng MIET MILP Macclesfield, SK10 2XA

T: 01625 348349 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

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

it does lighting ltd

Atkins

www.4wayconsulting.com

IEng MILP MSLL MIoD

Milton Keynes, MK14 6GD

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.

Mark Chandler

Tony Price

MMA Lighting Consultancy Ltd

Vanguardia Consulting

Reading RG10 9QN

BSc (Hons) CEng MILP MSLL Oxted RH8 9EE

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

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

Winchester, SO22 4DS

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

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.

www.atkinsglobal.com

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

www.mma-consultancy.co.uk

IEng FILP FSLL

Nottingham, NG9 2HF

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

EngTech AMILP

www.staintonlds.co.uk

IEng MILP

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

www.itdoes.co.uk

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

www.designsforlighting.co.uk

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. JULIE@MATRIXPRINT.COM 01536 527297

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

LIGHTING DIRECTORY ARCHITECTURAL LIGHTING

COLUMN INSPECTION & TESTING

CUT OUTS & ISOLATORS

ELECTRICAL DISTRIBUTION

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

BANNERS WIND RELEASING

cmtenquiries@kiwa.co.uk www.kiwa.co.uk

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!

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

EXTERIOR LIGHTING

LIGHTING COLUMNS

Designers and manufacturers of street and amenity lighting.

CONTACT JULIE BLAND 01536 527297

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

SHATTER RESISTANT LAMP COVERS

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

CONTACT JULIE BLAND 01536 527297

Holscot Fluoroplastics Ltd 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

TRAINING SERVICES

METER ADMINISTRATION

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.

LIGHT MEASURING EQUIPMENT 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

01525 862690 info@PowerDataAssociates.com www.PowerDataAssociates.com Wrest Park, Silsoe, Beds MK45 4HR

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

Diary 2015 21

,

24:00:00 (SLL event) Private preview of Arup’s latest foyer exhibition on light and light technology in the modern world Venue: Arup, Fitzroy St, London W1 www.sll.cibse.org

January

24

23

27

How to be Brilliant with: Florence Lam Global lighting leader, Arup (Organised by the ILP) Venue: ACDC Studio, London N1 Time: 6.30pm jo@theilp.org.uk

26

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

January

Obtrusive light: navigating the compliance minefield (ILP/BRE) Venue: BRE, Bucknalls Lane, Watford www.bre.co.uk

29

January

SLL Masterclass: Light for Life Location: St James’s Park Newcastle upon Tyne www.sll.cibse.org

2-3

February

The Challenge: Student Speaker Competition (PLDC with SLL as Knowledge Partner) Venue: Edinburgh Napier University www.pld-c.com/student-speakercompetition/

9-13

February

Exterior Lighting Diploma Module 1 Venue: Draycote Hotel, Nr Rugby jean@theilp.org.uk

10-12

February

Light School at the Surface Design Show (Organised by Light Collective and supported by the ILP) Venue: Business Design Centre Islington London N1 www.surfacedesignshow.com/ light-school

February

February

SLL Masterclass: Light for Life Location: Leeds City Museum, Leeds www.sll.cibse.org

4-5

March

IALD Enlighten Asia 2015: Feeling with Technology Venue: Big Sight, Ariake, Tokyo www.iald.org

10

March

200 years of Fresnel: Why everything we light and look at today depends on what he said (SLL event) Venue: Royal Institution, London www.sll.cibse.org

11

March

Fundamental Lighting Course (ILP course) Venue: Regent House, Rugby jo@theilp.org.uk

16-20 March

Exterior Lighting Diploma Module 2 Venue: Draycote Hotel, Nr Rugby jean@theilp.org.uk

19

March

Lighting Design Awards Venue: London Hilton, Park Lane https://www.awards.lighting.co.uk

March

24

March

Ready Steady Light Location: Rose Bruford College Sidcup, Kent www.sll.cibse.org

9-14 April

Euroluce Venue: Milan Fairgrounds, Milan www.cosmit.it/en/euroluce

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

21

May

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

29-31 May

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

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

Everybody wants one, it’s the thing you put on your CV Lorraine Calcott, director, It Does Lighting

Thursday 19 March | London Hilton on Park Lane

Book your table today to ensure the best position in the room on the night Don’t miss the opportunity to: Win new business Network with your industry peers Raise your company profile and product awareness Establish face-to-face relationships with potential clients Support and celebrate the industry’s achievements

Book online now at lightingawards.com Or call us on +44 (0) 203 033 2660 Please quote VIP code ILP when booking

Table bookings Francesca Verdusco +44 (0) 203 033 2660 francesca.verdusco@emap.com

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SPoNSorED by:

Sponsorship opportunities Martin Arnold +44 (0) 207 391 4521 martin.arnold@emap.com

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